VARESE, September 1st, 2026-by GIANNI BERALDO
American singer-songwriter, guitarist and literature professor Florence Dore returns with her third full-length album, Hold the Spark. Produced by legendary producer Don Dixon (R.E.M., The Smithereens) and featuring an all-star lineup of Americana talent—including guitarists Jason Wilber and Chris Masterson, and her husband, drummer Will Rigby—the record seamlessly blends roots rock, country-americana, and 1960s psychedelic touches.
In this exclusive interview via Zoom, Florence Dore discusses the creative process behind Hold the Spark, balancing her career in academia with life on the road, and the personal stories that shaped her newest music.
Interview
How long did it take to record the new album, and in which studio?
How long did it take us? We recorded one track, “Abacus,” at David Barbe’s studio in Athens, Georgia, while I was on tour. That only took a couple of hours, and I recorded the vocals elsewhere later. For the entire album, it took five days.
Just five days!
Yes. We added a few tracks afterward, but the basic tracks, one of the guitars, and the main vocals were finished in five days. For the previous record, Highways and Rocket Ships, we recorded at Mitch Easter’s studio, Fidelitorium, which is beautiful. I live in Chapel Hill, about an hour and a half from there. For this album, we needed to stay closer to home. This studio was designed by the same builder: it’s called Overdub Lane and is owned by Wes Lachot, a great professional and excellent musician (he played keyboards with The dB’s on their last tour).
The title track, “Hold the Spark,” blends country-americana sounds with 1960s psychedelic elements. What is the story behind this song, and why did you choose it as the album title?
I chose it as the title for the same reason I wrote it: it’s about my daughter. My husband Will (the drummer) and I have a
daughter who is finishing university. I wrote the track when she was about to leave home for college; I was sad about the idea of her leaving. I wanted to hold onto something after her departure: the “spark,” a bright image of the bond with a child as they take their own path. Her middle name is Luz—her name is Georgia Katherine Luz Rigby—which means “light” in Spanish. When she was born, my husband was on tour with Steve Earle & The Dukes. She was born early and Will wasn’t there, so we gave her the name Luz to give her something bigger than the geographical distance.
Is your daughter also a musician?
No, she isn’t. She’s a wonderful singer and plays the guitar, but she loves working with children. She is going to be a teacher like me. When she works with kids, she often sings with them. Who knows if one day she’ll become a professional singer—she certainly has the talent for it. She has already sung on stage with me and appears on backing vocals for “Sweet to Me” (from Highways and Rocket Ships), a song dedicated to my grandmother.
The opening track, Sunset Road, has a very marked roots rock feel. Is it the song that kicked off the narrative for the rest of the album?
That’s a great question. Actually no, because an album is a collection of short stories, unlike a novel that develops a single plotline. “Sunset Road” is the story of a man and a woman who have a baby in a difficult situation, and in the end she leaves alone with the child because she has this strong and brilliant spirit—more “sparky,” exactly. So there isn’t a single narrative thread, but rather a common theme.
The track 12 Great Minds (Department Meeting) is very funny and unleashes an overwhelming rock energy, poking fun at the absurdity of academic meetings. How much fun did you have writing and singing it?
A lot! I was furious when it happened. I had created a rule myself when I was department chair, and the new chair wrote me an email saying I hadn’t understood it, the committee made a ridiculous decision. It was absurd. My colleagues are extremely intelligent people with PhDs, but the everyday stupidity of university bureaucracy is why American academia is struggling today. It’s an environment that risks dampening intellectual curiosity rather than stimulating it in young people.
In Italian schools and universities, things work the same way.
I imagine so, but it’s not a good thing!
Your new album blends hard rock, country rock, psychedelia, and acoustic elements. How did you work in the studio to blend these styles into your signature sound?
It was a very natural process. Touring with Mark Spencer and Gene Holder after the previous record had a big impact on how
the songs came together. In the studio, we had Jason Wilbur (John Prine’s guitarist), Jeremy Chatzky on bass, and Chris Masterson on guitars. Producer Don Dixon—who produced R.E.M.’s early records alongside Mitch Easter, as well as The Smithereens—has immense respect for the personality of individual musicians: he lets them express themselves freely and steps in only if something needs tweaking. The psychedelic touch on “Butterflies,” for example, came from Mitch Easter playing the sitar at my request.
Do you prefer playing acoustic or electric guitar?
From a practical standpoint, it depends on the context. In an ideal world, I’d use both. However, when you’re on tour, carrying an amplifier and an electric guitar is exhausting and takes up space. Since we already have great electric guitarists in the band, I focus on the acoustic. This summer I opened a few shows for Steve Earle solo on acoustic guitar, and it was fantastic: it allows you to deliver the lyrics directly and essential to the audience.
Steve Earle is a great artist!
He truly is.
Does your audience prefer you in an acoustic setting, electric, or with the full band?
It depends. Playing acoustically creates an intimate and confidential atmosphere. With the band, on the other hand, the show becomes bigger, more powerful, and engaging.
Two years ago I interviewed Graham Parker, who told me about his acoustic American tour and how emotionally charged an experience it was.
It’s a very emotionally intense experience. And frankly, it’s also more economical for the artist because you don’t have to pay a band! You just bring your guitar and merchandise. If you do it well, you can convey the deep soul of the song to the audience.
Economical for the promoter as well, obviously!
Absolutely.
Who are the key figures or stories that inspired these new songs?
My work as a literature professor heavily influences my writing: I am fascinated by how characters come to life in novels. Taking inspiration from William Faulkner, I created the protagonists of songs like “Sunset Road” and “Superstar” from scratch. Other tracks are autobiographical, like the ones about my daughter or the department meeting. Among my musical and lyrical references are Chuck Prophet, Steve Earle, and Lucinda Williams.
All great artists, I’d say.
Yes, they are extraordinary artists.
You’ve assembled an excellent group of musicians for this project, including your husband. How long have you been playing together?
I’ve been playing with my husband Will for about 24 or 25 years (we’ve been married for 22). Jeremy Chatzky, Mark Spencer, and Jean Holder live in New York, while other collaborators reside in North Carolina. I knew Jason Wilbur because I had interviewed John Prine’s band for a book I edited called The Ink in the Grooves: Literature and Rock & Roll. I had always respected him as a person and a guitarist, so I brought him on board along with Chris Masterson (who now plays with The Wallflowers).
Is the lineup the same for both the album and live shows?
Usually no, because touring with musicians who live far away is very costly. When we perform locally, we involve local musicians, although I love playing with Mark, Jeremy, and Jean whenever possible.
You were born in Nashville and live in Chapel Hill. How much have these cities influenced your music?
Immensely. In Nashville, my mother took me out of school in third grade to go see Johnny Cash at the Grand Ole Opry, and I also saw Linda Ronstadt. Music is in the air there. Chapel Hill has a vibrant music scene that constantly pushes you to create art, thanks to its clubs and touring bands passing through.
Lucinda Williams is one of your key inspirations. Are there other essential influences for you?
As a child, I listened to a lot of Joan Baez, The Band, and The Beatles. In terms of songwriting, Bob Dylan, Guy Clark, Kris
Kristofferson, and Steve Earle were decisive. As vocalists, I learned to sing by following Bonnie Raitt, Linda Ronstadt, Irma Thomas, Aretha Franklin, and Linda Thompson.
The Americana scene has evolved significantly in recent years. Where do you position yourself within this landscape?
This album leans decidedly toward the rock side of the Americana genre. Many young female singer-songwriters today prefer a minimal, introspective style, whereas my root is closer to Chrissie Hynde of The Pretenders: grittier and more rock-oriented.
What about the blues?
While I respect and listen to blues classics like Howlin’ Wolf and Robert Johnson, I don’t consider myself a blues singer.
Have you ever been to Italy?
Yes, when I was 17 or 18. I would love to return for concerts or a vacation, or maybe both! I feel very at home with Italians.
Then come visit me in Italy next year!
Gladly! What city do you live in?
I live in Varese, in northern Italy near Milan, right on the Swiss border and in the lake district.
The lake district must be beautiful! Fantastic, we will definitely come.
Florence, thank you so much!
Thank you so much, Gianni. It was a real pleasure speaking with you, see you in Italy!
