6/10/25 ADDS
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UPCOMING
RECENT
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ABOUT
WILLIAM HARRIES GRAHAM
Annie’s House(Strolling Bones Records)
Add date: 10.22.2024
Release date: 10.25.2024
Links:
Apple Music
Bandcamp
Instagram
Spotify
Strolling Bones Records
Tidal
YouTube
Akin to bringing a personal journal to life, William Harries Graham threads vivid and vibrant memories and moments into the fabric of his music. Against a mosaic of dusty Americana, energetic rock ‘n’ roll, and eloquent folk, the Texas-born singer, songwriter, and multi-instrumentalist tells the kind of stories typically reserved for classic dog-eared novels and timeless flicks.
You can practically see these songs as much as you can hear them, reliving those experiences right next to William.
Thus far, he’s consistently proven himself on stage, remained prolific in the studio, and built an audience one fan at a time. Now, he welcomes everyone into his world on his fourth full-length offering and debut LP for Strolling Bones Records, Annie’s House.
“Whenever I’m writing, I envision the songs as movie scenes or vignettes,” he says. “The music is like nostalgia, because you’re thinking back on a memory. In the same fashion, it’s hazy and altered, but there’s a serious element to it. Annie’s House isn’t based on a single thing in my life, but it’s telling a thematic story of love, growing up, and getting older. ‘Annie’ isn’t necessarily a single person either, yet the running concept is more like an avatar you can relate to.”
Growing up in Austin, William intuitively gravitated to music. Mom worked as a professor, while dad Jon Dee Graham gained renown as a respected independent musician and performer himself. As such, William spent countless hours watching his father either playing or recording. He went from messing around with dad’s guitars to receiving a guitar of his own at twelve-years-old. “That’s when I started taking it really seriously,” he recalls.
Absorbing as much inspiration as possible, he poured over records by everyone from Gregory Alan Isakov and Blake Mills to Julian Lage and Bill Frisell. Penning original music and jamming around town, he cut his teeth by countless gigs at coffee shops, restaurants, and “everywhere in between.” Simultaneously, he cultivated an engaging and enigmatic signature style with Foreign Fields [2015], JAKES [2019], St. Claire EP [2021], Plainfield Tapes EP [2021], and there are only endings [2023]. He also shined on stage at SXSW and on bills with a myriad of artists, including Arcade Fire, James McMurtry, Steve Poltz, and Matthew Ryan.
Along the way, he carefully built what would become Annie’s House. Tracked in just four days, the recording mirrored the urgency of the music itself teaming with dynamic guitars, heartfelt vocals, and an indescribable magic of its own. Among many highlights, “Ohio State” opens with fast-paced drumming, giving way to a wailing guitar lick. His breathy vocals weigh heavy on the verses as he ponders, “Do you still see me somewhere in your future?” It culminates with an invitation on the chantable chorus, “If you’re still with me here in ten years, call me up.”
“That’s one of my favorites on the record,” he notes. “It feels like a bookmark. I had overheard someone at a coffee shop talking about an old lover who made an agreement where if one day they were in the right spot, they would come and find them. I just feel like a lot of people have had a conversation like that at some point.”
The opener “Yourself” hinges on a hummable riff and steady drumbeat as he surveys his life with unfiltered candor. He asks, “When you look in the mirror, tell me, what do you see?”
“‘Yourself’ was a departure from anything I had written before,” he observes. “I really fell in love with the groove of the song, and it was the first one that I wrote that was super story-driven. It’s all about growing up and being at that point in your early twenties where you're just figuring life out.”
Then, there’s “Same As When We Were Kids.” Emotional vocals flutter atop acoustic guitar while he basks in memories of an old best friend. Nostalgia overflows on the entrancing refrain.
“For me, you’re thinking of someone who knows you so well and has been through everything with you,” he says. “You can always call one friend and reminisce.”
“On The Outside” highlights yet another facet of his artistry. Backed by delicate piano, his voice takes the spotlight with a proclamation, “I don’t want to be on the outside.”
“I selfishly love all of the songs on the album, but this one is definitely a standout,” he grins. “It’s very different from anything else on the album.”
As much as it’s a personal body of work for William, Annie’s House is also a place of reflection, rest, and respite for the audience.
“When people hear this album, I want them to walk away from it with some reflection on their own lives and experiences,” he leaves off. “The music that I personally connect with is always music where I see some part of myself in it. I hope you see yourself in Annie’s House.”
Apple Music
Bandcamp
Spotify
Strolling Bones Records
Tidal
YouTube
Akin to bringing a personal journal to life, William Harries Graham threads vivid and vibrant memories and moments into the fabric of his music. Against a mosaic of dusty Americana, energetic rock ‘n’ roll, and eloquent folk, the Texas-born singer, songwriter, and multi-instrumentalist tells the kind of stories typically reserved for classic dog-eared novels and timeless flicks.
You can practically see these songs as much as you can hear them, reliving those experiences right next to William.
Thus far, he’s consistently proven himself on stage, remained prolific in the studio, and built an audience one fan at a time. Now, he welcomes everyone into his world on his fourth full-length offering and debut LP for Strolling Bones Records, Annie’s House.
“Whenever I’m writing, I envision the songs as movie scenes or vignettes,” he says. “The music is like nostalgia, because you’re thinking back on a memory. In the same fashion, it’s hazy and altered, but there’s a serious element to it. Annie’s House isn’t based on a single thing in my life, but it’s telling a thematic story of love, growing up, and getting older. ‘Annie’ isn’t necessarily a single person either, yet the running concept is more like an avatar you can relate to.”
Growing up in Austin, William intuitively gravitated to music. Mom worked as a professor, while dad Jon Dee Graham gained renown as a respected independent musician and performer himself. As such, William spent countless hours watching his father either playing or recording. He went from messing around with dad’s guitars to receiving a guitar of his own at twelve-years-old. “That’s when I started taking it really seriously,” he recalls.
Absorbing as much inspiration as possible, he poured over records by everyone from Gregory Alan Isakov and Blake Mills to Julian Lage and Bill Frisell. Penning original music and jamming around town, he cut his teeth by countless gigs at coffee shops, restaurants, and “everywhere in between.” Simultaneously, he cultivated an engaging and enigmatic signature style with Foreign Fields [2015], JAKES [2019], St. Claire EP [2021], Plainfield Tapes EP [2021], and there are only endings [2023]. He also shined on stage at SXSW and on bills with a myriad of artists, including Arcade Fire, James McMurtry, Steve Poltz, and Matthew Ryan.
Along the way, he carefully built what would become Annie’s House. Tracked in just four days, the recording mirrored the urgency of the music itself teaming with dynamic guitars, heartfelt vocals, and an indescribable magic of its own. Among many highlights, “Ohio State” opens with fast-paced drumming, giving way to a wailing guitar lick. His breathy vocals weigh heavy on the verses as he ponders, “Do you still see me somewhere in your future?” It culminates with an invitation on the chantable chorus, “If you’re still with me here in ten years, call me up.”
“That’s one of my favorites on the record,” he notes. “It feels like a bookmark. I had overheard someone at a coffee shop talking about an old lover who made an agreement where if one day they were in the right spot, they would come and find them. I just feel like a lot of people have had a conversation like that at some point.”
The opener “Yourself” hinges on a hummable riff and steady drumbeat as he surveys his life with unfiltered candor. He asks, “When you look in the mirror, tell me, what do you see?”
“‘Yourself’ was a departure from anything I had written before,” he observes. “I really fell in love with the groove of the song, and it was the first one that I wrote that was super story-driven. It’s all about growing up and being at that point in your early twenties where you're just figuring life out.”
Then, there’s “Same As When We Were Kids.” Emotional vocals flutter atop acoustic guitar while he basks in memories of an old best friend. Nostalgia overflows on the entrancing refrain.
“For me, you’re thinking of someone who knows you so well and has been through everything with you,” he says. “You can always call one friend and reminisce.”
“On The Outside” highlights yet another facet of his artistry. Backed by delicate piano, his voice takes the spotlight with a proclamation, “I don’t want to be on the outside.”
“I selfishly love all of the songs on the album, but this one is definitely a standout,” he grins. “It’s very different from anything else on the album.”
As much as it’s a personal body of work for William, Annie’s House is also a place of reflection, rest, and respite for the audience.
“When people hear this album, I want them to walk away from it with some reflection on their own lives and experiences,” he leaves off. “The music that I personally connect with is always music where I see some part of myself in it. I hope you see yourself in Annie’s House.”