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Les Hall
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Key Information
Les Hall is an American composer, producer, multi-instrumentalist, and songwriter from Columbia, South Carolina, best known for his involvement in Crossfade and 70 Volt Parade,[1] Trey Anastasio's backup band after the 2004–2009 breakup of Phish. He has also toured worldwide with Howie Day and has been a member of numerous bands local to Columbia, including Jebel, Sourwood Honey,[1] the Robert Newton Group, and Sterling.
In addition to working as a session and touring musician, he composed the score for the Hungarian documentary Freedom's Fury, about the country's Olympic water polo team during the Revolution of 1956, which was narrated by Mark Spitz and executive produced by Quentin Tarantino and Lucy Liu.[citation needed] The film made its debut at the Tribeca Festival in 2006 and was a selected feature at Cannes the same year.[citation needed] He has also composed scores for National Geographic, several short films, and played piano/additional string arrangements on Rob Zombie's House of 1000 Corpses.
Hall composed the score for East of the Mountains, released in 2021.
Discography
[edit]- Howie Day
- Stop All the World Now (2003)
- Sound the Alarm (2009)
- We All Bleed (2011)
References
[edit]- ^ a b Pantsari, Mark R. (2008-06-07). "The Many Moves of Les Hall: From Howie Day To Trey". Jambands.com. Retrieved 2008-04-09.
External links
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Les Hall
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Early life
Upbringing in South Carolina
Les Hall, an American musician, composer, and producer, hails from Columbia, South Carolina, where he spent his formative years.[1] During his upbringing in the city, he developed early connections within the local community, including a friendship with future Crossfade frontman Ed Sloan that dates back to seventh grade.[3] This period in Columbia exposed Hall to the regional music influences of the late 20th century, setting the stage for his transition to formal musical training.Musical education and influences
Les Hall developed his skills as a multi-instrumentalist through hands-on experience in songwriting and performance, with a particular focus on guitar as his primary instrument, alongside proficiency in keyboards and piano. He attended Berklee College of Music.[4][2][11] His early musical influences drew from a diverse array of rock and alternative genres, contributing to his versatile style as a composer and performer.[2] Hall has described his tastes as spanning an eclectic spectrum, from Abba to Zappa, which informed his multi-instrumental approach and creative process.[2]Musical career
Local bands and early professional work
Les Hall began his professional music career in Columbia, South Carolina, shortly after attending the Berklee College of Music, where he honed his skills as a multi-instrumentalist.[4] In the mid-1990s, he joined the local alternative rock band Sourwood Honey as a keyboardist, also contributing on bass and lead guitar; the group expanded its lineup for their 1995 album Big Neon Hound Dog, marking Hall's early involvement in regional recordings.[12][5][13] By the late 1990s, Hall had become a fixture in Columbia's music scene, playing drums and other instruments in several local ensembles. He performed with Jebel, an experimental jam rock outfit, and was influenced by renowned local guitarist Robert Newton III, with whom he studied and later backed at tribute events.[5][14][15] From 1998 onward, Hall took on session musician duties for various regional projects, contributing to recordings that highlighted his versatility on drums, keyboards, and guitar. These efforts, including tributes and local compilations tied to Columbia's jam and rock communities, helped solidify his reputation as a reliable performer in the South Carolina alternative scene before gaining wider attention.[5][15]Role in Crossfade
Les Hall joined Crossfade in 2006 as a touring guitarist following the release of the band's sophomore album Falling Away, initially providing additional guitar support before transitioning to an official member as lead guitarist, keyboardist, and backing vocalist.[16][3] His integration into the band brought a fresh dynamic, drawing from his prior experience in local South Carolina scenes to enhance the group's hard rock sound.[17] Hall played a pivotal role in the songwriting and production of Crossfade's third studio album, We All Bleed (2011), co-writing tracks such as "I Am Not Holding On To Dead Memories" where he composed the music to frontman Ed Sloan's lyrics, often starting with piano and acoustic guitar elements to infuse darker tones into the material.[18] The album's production largely occurred at the band's own studio in Columbia, South Carolina, where Hall programmed drums, bass, guitars, and keyboards using a modest $7,000 equipment credit from Sweetwater, before tracking live drums and final mixing in Los Angeles to prioritize a robust drum sound.[18] This hands-on approach marked a significant evolution for the band, emphasizing self-reliance after their major-label experiences.[2] In live performances, Hall's multi-instrumental contributions elevated Crossfade's stage presence, highlighted by appearances at festivals like Rock on the Range in 2011 and the extensive Rock Allegiance Tour that summer, where the band shared bills with acts including Buckcherry, Papa Roach, and Puddle of Mudd across 10 warm-up dates and a full run starting August 24.[18] His guitar work and backing vocals added intensity to sets featuring hits like "Cold" and new material from We All Bleed, helping solidify the band's connection with hard rock audiences during a period of lineup stability.[3] In October 2024, Crossfade announced a reunion with Hall, Ed Sloan, and Mitch James, marking their first activity since 2012. The band performed at the Sonic Temple Art & Music Festival (May 8–11, 2025) and Inkcarceration Music and Tattoo Festival (July 18–20, 2025) in Ohio.[6]Collaboration with Trey Anastasio
Following the breakup of Phish in 2004, Les Hall joined Trey Anastasio's backing band, 70 Volt Parade, as a multi-instrumentalist, primarily handling guitar and keyboards (including grand piano, Rhodes, and synthesizer) during its active period in 2005.[5][9] The ensemble, known for its jam band style emphasizing improvisation and extended compositions, featured Hall sharing guitar duties with Anastasio and contributing to the group's dynamic rock sound.[19][20] Hall's contributions extended to Anastasio's solo recordings, where he provided guitar and keyboard arrangements for the 2005 rock album Shine, recorded at Tree Sound Studios in Atlanta; this included work on new tracks like "Low" as well as adaptations of older Anastasio and Phish material.[5][9] His arrangements added a slashing guitar edge and jazz-influenced piano elements, enhancing the album's blend of structured songs and improvisational flair.[20] With 70 Volt Parade, Hall participated in extensive North American touring throughout 2005, including spring and fall legs that covered major U.S. venues such as Radio City Music Hall, the Warfield Theatre, and festivals like Bonnaroo and 10,000 Lakes; the band also opened for the Rolling Stones and appeared on television programs including The Tonight Show with Jay Leno and Late Show with David Letterman.[21][22][9] These performances highlighted the ensemble's chemistry, with Hall's multi-instrumental versatility supporting Anastasio's guitar-driven jams and the group's horn section.[5][19]Touring with Howie Day
Les Hall joined singer-songwriter Howie Day as a multi-instrumentalist in 2003, serving as the keyboardist and guitarist in Day's backing band during the promotion of the album Stop All the World Now.[11][5] This marked a significant expansion for Day, who had previously performed solo using looping and effects pedals to layer sounds, transitioning to a full four-piece ensemble that included Hall on keyboards and guitar, Jay Clifford on guitar, Simon Jones on bass, and Laurie Jenkins on drums.[23] Hall's contributions helped enhance Day's acoustic-oriented sets by adding layered keyboard textures and guitar support, allowing for richer arrangements during live performances.[5] The collaboration led to extensive touring throughout 2003 and 2004, encompassing five circuits across North America and several weeks of shows in Europe, following a two-month recording stint in London.[5] These global outings, which lasted approximately one year, showcased Hall's versatility in incorporating looping techniques and effects on guitar and keyboards, elements he sought to integrate into the band's dynamic to evolve Day's live sound from intimate solo presentations to more produced, band-driven experiences.[5] Notable appearances included opening slots for acts like Nickel Creek, where Hall's multi-instrumental role supported Day's signature blend of pop-rock and indie elements.[5] Hall's tenure with Day influenced the performer's stage evolution, contributing to a more collaborative and expansive live aesthetic that persisted into later projects, including the 2009 Sound the Alarm era, though his primary touring involvement centered on the early 2000s promotions.[11][24] This period solidified Hall's reputation as a key collaborator in Day's career, bridging acoustic intimacy with fuller band instrumentation.[5]Production and composition
Founding of 537 Studios
In 2001, Les Hall established 537 Studios in the Atlanta metropolitan area, creating a dedicated space that serves as a central hub for his work as a composer and producer.[4] The studio emerged from Hall's growing independence in the music industry, allowing him to oversee projects from inception to completion without reliance on external facilities.[11] As of 2023, the facilities at 537 Studios are designed to support comprehensive multi-track recording, composition, and artist development, featuring professional-grade digital audio workstations such as Pro Tools 12, Logic Pro X, and Ableton Live 9 Suite.[8] High-end analog and digital equipment enhances the production process, including two API 512c preamps for clean signal capture, an Avalon VT 737sp channel strip for vocal and instrument processing, and a Universal Audio Apollo 8P interface for low-latency tracking.[8] A Neumann U87i microphone provides pristine audio fidelity for vocals and instruments, complemented by a DW five-piece drum kit for live percussion recording.[8] Instrumental resources further enable versatile composition and performance, with notable pieces like a 1961 Hammond C3 organ for rich tonal depth, a Yamaha Motif 8 synthesizer workstation, a 1975 Gibson Les Paul Custom electric guitar, and a Fender Stratocaster for dynamic guitar work.[8] These tools facilitate artist development by allowing collaborative sessions where musicians can experiment, refine tracks, and integrate electronic elements using software like Melodyne for pitch correction and Native Instruments Maschine for beat production.[8] Hall's transition to self-employment as a session musician and producer in 1998 played a pivotal role in achieving this studio independence, enabling him to build a professional environment tailored to diverse genres from rock to film scoring.[4] This setup has since supported his production of independent artists, such as The Whiskey Gentry's album Dead Ringer in 2017, underscoring the studio's function as a creative and technical cornerstone in his career.[11]Film and media scores
Les Hall's compositional work in film and media began with contributions to horror cinema, where he provided piano performances and additional string arrangements for Rob Zombie's directorial debut, House of 1000 Corpses (2003).[9] These elements enhanced the film's atmospheric tension, blending orchestral textures with its gritty rock soundtrack. In 2006, Hall composed the full original score for the Hungarian documentary Freedom's Fury, directed by Colin Keith Gray and Megan Raney Aarons, which chronicles the 1956 Olympic water polo match between Hungary and the USSR amid the Hungarian Revolution.[11] The film, narrated by Olympic swimmer Mark Spitz and executive produced by Quentin Tarantino and Lucy Liu, premiered at the Tribeca Film Festival.[10] Hall's score, utilizing piano, strings, and electronic elements, underscored the documentary's themes of defiance and national pride, drawing from his rock background to create an intense, emotive soundscape. Hall expanded his media scoring portfolio with contributions to National Geographic projects, where he crafted music for educational documentaries emphasizing natural history and exploration.[1] He also composed scores for various short films, including Faded, The Day I Tried to Live, and Rift, applying his multi-instrumental expertise to concise narratives requiring nuanced emotional depth.[11] In 2021, Hall delivered the complete score for the feature film East of the Mountains, directed by S.J. Chiro and starring Tom Skerritt and Mira Sorvino, adapting David Guterson's novel about a dying veteran's journey through the Pacific Northwest.[25] His composition featured acoustic guitar, piano, and orchestral swells to evoke introspection and resilience, aligning with the film's contemplative tone.[26]Discography
Albums with Crossfade
Les Hall's primary discographic contributions to Crossfade came on the band's third studio album, We All Bleed, released on June 21, 2011, by Eleven Seven Music. Having joined the band in 2006 as lead guitarist, keyboardist, and backing vocalist, Hall served as the principal producer, arranger, and co-songwriter across all tracks, marking a significant shift in the band's sound with added keyboard layers, string arrangements, and orchestral elements.[27][28][9] The album, co-produced by Hall and vocalist/guitarist Ed Sloan and mixed by Ben Grosse, was developed over three years and delves into themes of betrayal, isolation, and personal struggle, reflecting Crossfade's post-grunge roots while incorporating heavier, more atmospheric production. Hall's songwriting and multi-instrumental input are evident in the album's dynamic range, from aggressive riffs to expansive closers, and it received improved critical reception compared to prior releases for its emotional depth and musical maturity.[27][29][2]| Track | Title | Length | Writers |
|---|---|---|---|
| 1 | Dead Memories | 2:54 | Ed Sloan, Les Hall |
| 2 | Killing Me Inside | 5:13 | Les Hall, Ed Sloan |
| 3 | Prove You Wrong | 3:18 | Les Hall, Ed Sloan, Mitch James |
| 4 | Lay Me Down | 4:25 | Les Hall, Ed Sloan |
| 5 | Dear Cocaine | 4:58 | Les Hall, Ed Sloan |
| 6 | Suffocate | 5:55 | Les Hall, Ed Sloan |
| 7 | I Think You Should Know | 3:53 | Les Hall, Ed Sloan |
| 8 | We All Bleed | 4:05 | Les Hall, Ed Sloan |
| 9 | Open Up Your Eyes | 3:56 | Les Hall, Ed Sloan |
| 10 | Make Me a Believer | 10:11 | Les Hall, Ed Sloan |