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Wilco is an American rock band based in Chicago. The band was formed in 1994 by the remaining members of alternative country group Uncle Tupelo after singer Jay Farrar's departure. Wilco's lineup changed frequently during its first decade, with only singer Jeff Tweedy and bassist John Stirratt remaining from the original incarnation. Since early 2004 the lineup has been unchanged, consisting of Tweedy, Stirratt, guitarist Nels Cline, multi-instrumentalist Pat Sansone, keyboard player Mikael Jorgensen, and drummer Glenn Kotche. Wilco has released thirteen studio albums, a live double album, and four collaborations: three with Billy Bragg and one with the Minus 5.

Key Information

Wilco's music has been inspired by a wide variety of artists and styles including Bill Fay, the Beatles, and Television; in turn the band has influenced music by many modern alternative rock acts. The band continued in the alternative country style of Uncle Tupelo on its debut album A.M. (1995), but has since introduced more experimental aspects to their music, including elements of alternative rock and classic pop. Wilco's musical style has evolved from a 1990s country rock sound to a current "eclectic indie rock collective that touches on many eras and genres".[1]

Wilco received media attention for their fourth album, Yankee Hotel Foxtrot (2001), and the controversy surrounding it. After the recording sessions were complete, Reprise Records rejected the album and dismissed Wilco from the label. As part of a buy-out deal, Reprise gave Wilco the rights to the album for free. After streaming Foxtrot on its website, Wilco sold the album to Nonesuch Records in 2002. Both record labels are subsidiaries of Warner Music Group, leading a critic to say the album showed "how screwed up the music business is in the early twenty-first century."[2] The event was immortalized in the documentary I Am Trying to Break Your Heart; director Sam Jones followed the band as they wrote and produced the record. Yankee Hotel Foxtrot is Wilco's most successful release to date, selling over 670,000 copies. Wilco won two Grammy Awards for their fifth studio album, 2004's A Ghost Is Born, including Best Alternative Music Album. Wilco released their thirteenth studio album, Cousin, in September 2023.

History

[edit]

Formation, A.M., and Being There (1994–1996)

[edit]
Main article: Uncle Tupelo

Wilco was formed following the breakup of the influential alternative country music group Uncle Tupelo. Singer Jay Farrar quit the band in 1994 because of a soured relationship with co-singer Jeff Tweedy.[3] Both Tweedy and Farrar immediately sought to form bands after the breakup, with Farrar organizing Son Volt. Tweedy's new band included all current members of Uncle Tupelo lineup sans Farrar, including bassist John Stirratt, drummer Ken Coomer, and multi-instrumentalist Max Johnston. He even enlisted Uncle Tupelo guest guitarist Brian Henneman of the Bottle Rockets to perform, who appears on many of the tracks for Wilco's debut album, A.M..[4] The group considered retaining the Uncle Tupelo name[5] but decided to call themselves "Wilco" after the military and commercial aviation radio voice abbreviation for "will comply",[6] a choice which Tweedy has said is "fairly ironic for a rock band to name themselves."[7]

After collaborating with Syd Straw on a cover version of the Ernest Tubb song "The T.B. is Whipping Me" (released in September 1994 on the Red Hot + Country compilation produced by the Red Hot Organization), Wilco began recording tracks for A.M., their first studio album, at Easley studio in June 1994.[4][6][8] A demo tape from the recordings was sent to executives at Reprise Records, a subsidiary of Warner Brothers, and the label signed Tweedy to a contract. Although Tweedy said that he wanted a more collaborative project than Uncle Tupelo, only his name appeared on the Reprise contract.[9] Tweedy requested songwriting submissions from other members, but only one submission—John Stirratt's "It's Just That Simple"—appeared on A.M.. It was the last song Wilco ever released that was lyrically solely written by a member besides Tweedy.[9]

Stylistically similar to Uncle Tupelo, the music on A.M. was considered to be straightforward alternative country rock in what Tweedy later described as "trying to tread some water with a perceived audience."[10] A.M. peaked at number 27 on the Billboard Heatseekers chart, considerably lower than the debut album of Jay Farrar's new band, Son Volt.[11][12] The album was met with modest reviews though it would rank thirty-fourth in the Village Voice's 1995 Pazz & Jop critics poll.[13][14][15] Critically and commercially paling in comparison to the reception of Son Volt's album, the Wilco members perceived A.M. to be a failure.[16] Shortly after the release of the album, multi-instrumentalist Jay Bennett joined the band, providing the band with a keyboardist and another guitarist.

"I Must Be High"
Sample from "I Must Be High", the first track from A.M.. The song is an example of the straightforward alternative country music described by Tweedy as "trying to tread some water with a perceived audience."
Problems playing this file? See media help.

Wilco made its live debut on November 17, 1994 to a capacity crowd at Cicero's Basement Bar in St. Louis, Missouri (the band was billed for the occasion as "Black Shampoo").[17] During the two hundred-date tour supporting A.M., Tweedy began to write songs for a second album. The lyrical theme of the songs reflected a relationship between musical artist and a listener; Tweedy chose this topic because he sought to eschew the alternative country fan base. Ken Coomer elaborated:[18]

The whole No Depression thing was funny to us because people seemed to forget that Jeff was a bigger punk-rock fan than a country fan. It led to things like us all switching instruments on "Misunderstood," where I'm playing guitar.

Wilco recorded a number of songs with this theme, including "Sunken Treasure" and "Hotel Arizona."[19] Wilco also recorded some songs in the style of A.M.[20] Wilco named the album Being There after a Peter Sellers film of the same name. The band went through some personnel changes during the recording sessions. Max Johnston left the band because he felt that his role in the band had diminished in favor of Bennett; he had also been replaced by violinist Jesse Greene on one track because the band felt that Johnston was unable to play the part. Bob Egan of Freakwater briefly joined the band in the studio, playing pedal steel guitar on "Far, Far Away" and "Dreamer in My Dreams", and then became an official member in September 1996.[21][22]

Unlike the A.M. recording sessions, the band had no desire to produce a hit song from their second effort.[23] The recording sessions produced nineteen songs, too many for a single album release. Tweedy was concerned about the high retail price that a double album would be sold for (at least $30), so he asked Reprise Records to release it as a double album at a single album price ($17.98 or less). Reprise agreed to this on the terms that they received Wilco's share of the album royalties. It was estimated in 2003 that the band lost almost $600,000 on the deal, but Tweedy was satisfied.[24] Being There was well received by critics from several major media outlets, including Rolling Stone.[20][25][26] The album reached number 73 on the Billboard album charts,[27] a significant improvement from A.M., and placed fourteenth on the Pazz & Jop Critics Poll for 1996.[28] The album's single "Outtasite (Outta Mind)" became the group's first song to enter the Billboard charts, reaching number 39 on the Modern Rock Tracks chart and number 22 on the Mainstream Rock Tracks chart.[29]

Summerteeth and the Mermaid Avenue sessions (1997–2000)

[edit]

In November 1997, Wilco entered Willie Nelson's recording studio in Spicewood, Texas to record a third studio album.[30] The album was lyrically inspired by the marital problems of Tweedy and his wife, as well as by twentieth-century literature.[31] Tweedy relied heavily on Bennett to provide music for the singer's "bold, but depressing" lyrics.[32] Wilco recorded several songs, including "Via Chicago" and "She's a Jar", but began working on another project before assembling the tracks into an album.[30]

The two Mermaid Avenue albums are recordings of unreleased Woody Guthrie (pictured) songs

Nora Guthrie contacted singer-songwriter Billy Bragg in spring 1995 about recording some unreleased songs by her father, folk singer Woody Guthrie. Most of the songs were written late in Guthrie's life when he was unable to record due to the motor impairments of Huntington's disease. By the 1990s, Woody Guthrie had become a "relic" to the MTV generation, and Nora sought to establish a different legacy for the musician. To Nora, Bragg was "the only singer I knew taking on the same issues as Woody." Bragg was concerned, however, that his fans would not realize that the songs were written by Guthrie when he performed them on tour, so he decided to record the album with another band.[33]

Bragg contacted Tweedy and Bennett about co-recording the album while Wilco was on the European segment of their Being There tour. Bragg was particularly fond of Being There because their influences extended farther back than the 1950s. Although Tweedy was indifferent to the offer, Bennett was enthused about recording songs with one of his idols—Bennett's previous band Titanic Love Affair was named after a Billy Bragg lyric. A recording contract between Bragg and Wilco was signed after a show at Shepherd's Bush Empire. Bragg mostly recorded the politically charged lyrics, while Tweedy preferred to record lyrics that showcased Guthrie as a "freak weirdo." The recording of Mermaid Avenue began on December 12, 1997, and was the topic of BBC's Man in the Sand documentary film.[34]

Tempers flared between Bragg and Wilco after the album was completed. Bennett believed that Bragg was overproducing his songs, a sharp contrast to Wilco's sparser contributions. Bennett called Bragg about the possibility of remixing Bragg's songs, to which Bragg responded "you make your record, and I'll make mine..." Eventually Bragg sent copies of his recordings to Chicago for Bennett to remix, but Bragg refused to use the new mixes on the album. The two parties were unable to establish a promotional tour and quarreled over royalties and guest musician fees.

Despite these conflicts, the album was released on June 23, 1998, and sold over 277,000 copies.[35] The album received rave reviews from Robert Christgau and Rolling Stone, and was nominated for a Grammy Award for Best Contemporary Folk Album.[36][37] It also placed fourth on the Pazz & Jop critics poll for 1998.[38] After the album was released, Bob Egan was replaced by multi-instrumentalist Leroy Bach.[39]

After the completion of the Mermaid Avenue sessions, Wilco returned to Spicewood to complete their third studio album, Summerteeth. Unlike previous Wilco and Uncle Tupelo recordings, the album featured a lot of overdubbing with Pro Tools.[40] Stirratt and Coomer were concerned with the production, since it reduced their involvement in the music. According to Stirratt:[41]

The story of Summerteeth is Jay bought a Mellotron and he was going to use it, no matter what. It was lovely, but it was overdone. Once they got going on the overdubs, they didn't stop. And nobody in the band stepped up to stop the madness ... It reminds me of Heart of Darkness, where you knowingly extend the creative process for the purpose of exploration or redemption, or whatever it is you're looking for.

During 1999, Warner Brothers was looking to help repay a $16 billion debt acquired during the recent merger of parent company Warner Communications with Time Inc.[42] As a result, Warner's imprints were under pressure to produce musical acts that would yield hit records. The head of Reprise, Howie Klein, who had previously authorized the release of Being There as a double album, was willing to let Wilco produce Summerteeth without label input. When Klein played the album for Reprise's A&R department, however, they demanded a radio single for the album. Wilco agreed to do this "once and once only" and recorded a radio-friendly version of "Can't Stand It" at the request of David Kahne, the head of the A&R department.[43] The single version of "Can't Stand It" failed to cross over from Triple-A radio to alternative rock stations. The album sold only 200,000 copies, significantly less than Being There[44] despite critical acclaim; the album placed eighth on the Pazz & Jop critics' poll for 1999.[45]

After the release of Summerteeth, the band resumed the Mermaid Avenue sessions. Although they had recorded enough material for a second release in 1998, Wilco recorded a few new songs for Mermaid Avenue Vol. II. "Someday Some Morning Sometime," featuring a vibraphone filtered through a space echo, was identified by Tweedy as being the "piece to the puzzle" towards the creation of their fourth studio album. The album was released on May 30, 2000, and was the last release from the sessions.[46] The remainder of the sessions were released in 2012 as Mermaid Avenue Vol. III, also part of Mermaid Avenue: The Complete Sessions.

Departure from Reprise Records and Yankee Hotel Foxtrot (2001–2002)

[edit]
The Marina Towers in Chicago are depicted on the cover of Yankee Hotel Foxtrot.
"I Am Trying to Break Your Heart"
The first track from Yankee Hotel Foxtrot, this song featured an intro on bells composed by Glenn Kotche.
Problems playing this file? See media help.

Shortly after the recording sessions for Mermaid Avenue Vol. II, Wilco purchased a studio on Irving Park Road in Chicago, which they named the Wilco Loft.[47] The band recorded tracks in the studio in early 2000 for a fourth studio album. In May 2000, Jeff Tweedy requested to perform with Jim O'Rourke at a festival in Chicago; Tweedy was a fan of O'Rourke's Bad Timing. O'Rourke introduced Tweedy to drummer Glenn Kotche, and the trio enjoyed working together so much that they decided to record an album as a side project named Loose Fur.[48] Wilco had recorded an entire album of music at this point, but Tweedy was unhappy with the drum parts. He enjoyed Kotche's contributions to Loose Fur so much that Tweedy brought him into the studio to re-record some demos. Some believe that Tweedy sought to make Wilco sound like Loose Fur after officially replacing Ken Coomer with Kotche in January 2001.[49]

Although Bennett sought to be the mixer and engineer for Yankee Hotel Foxtrot, Tweedy was unsure of Bennett's abilities compared to O'Rourke. Tweedy and Bennett frequently argued over whether the album should be accessible to a general listener, or attempt to cover new musical ground.[50] Unbeknownst to Bennett, Tweedy invited O'Rourke to remix "I Am Trying to Break Your Heart", and the results impressed the other band members—even Bennett. Tensions grew between Bennett and O'Rourke because Bennett wanted to mix every song on the album. O'Rourke cut the contributions of other members on several of the songs; some songs, such as "Poor Places", only featured the Loose Fur trio.[51] The album was completed in 2001, and Bennett was dismissed from the band immediately afterwards.[52] The recording of the album was documented by Sam Jones and released in 2002 as the film I Am Trying to Break Your Heart: A Film About Wilco.

Time Warner, which owned Warner Bros. Records, merged with America Online in 2001, leading to more pressure on Warner's record labels to cut costs. Over 600 employees of Warner Music Group were fired, including Howie Klein, the president of Reprise Records.

David Kahne became the interim head of Reprise.[53] Kahne assigned Mio Vukovic to monitor the progress of Yankee Hotel Foxtrot and to offer suggestions. Music journalist Greg Kot claims that Vukovic disliked the album and was unhappy that Wilco ignored his suggestions.[54] He brought the album to Kahne, who felt that there was no single on the album. In June 2001, the album was rejected by Reprise and Wilco was asked to leave the label.[55]

Wilco managed to negotiate a buy-out from Reprise. Music journalist Greg Kot claims that instead of financial compensation, the band agreed to leave the label with the master tapes of Yankee Hotel Foxtrot.[56] The label was already receiving bad publicity for its treatment of the band and were willing to accommodate Wilco's request.[57] However, AllMusic claims "Warner/Reprise agreed to sell them the masters for a reported $50,000" after Wilco was "unwilling to change the album to make it more 'commercially viable'." In a last-minute decision, the label freed Wilco from their contract and gave them the album at no charge.[58] Curbing the negative publicity, Warner Music Group began to invest more in bands including The Flaming Lips. Lead singer Wayne Coyne remarked:[59]

We are benefiting from the label's regret over Wilco. We are living in the golden age of that being such a public mistake. The people on Warners said, "we'll never have a band like Wilco feel we don't believe in them again." They'd tell me that it would never happen to us. And what a great day for me!

As the band searched for a new label to release the album, they decided to stream it on their official website to discourage illegal trading of low-quality MP3s.[60] The band signed with Nonesuch Records, another Time Warner subsidiary, and the album was released in the spring of 2002. When it was released, Yankee Hotel Foxtrot reached number 13 on the Billboard 200, Wilco's highest chart position to that date.[61] Yankee Hotel Foxtrot sold over 590,000 copies, and to date remains Wilco's best-selling album.[62] Yankee Hotel Foxtrot was met with extensive critical acclaim: it topped 2002's Pazz & Jop critics' poll and was named one of the 100 greatest albums of all time by Q Magazine.[63][64][65] Rolling Stone rated it at number 493 of their 500 Greatest Albums of all Time, in May 2012.[66] In the 2020 reboot of the list, its ranking was raised to number 225.

In September 2022 the band released a variety of reissues of the album, including an 11-LP "Super Deluxe" version. The reissue won a Grammy for Best Historical Album.

Down with Wilco, A Ghost Is Born, and Kicking Television (2003–2005)

[edit]

While waiting for the commercial release of Yankee Hotel Foxtrot, Wilco agreed to support R.E.M. collaborator Scott McCaughey for an album release by The Minus 5. They scheduled a recording session for September 11, 2001, but were distraught about the 9/11 terrorist attacks that day.[67] Later that day, Wilco and McCaughey agreed to "create something good in the world right now" and record some material.[68] Influenced by Bill Fay's Time of the Last Persecution, The Minus 5's Down with Wilco was released in 2003.[69] Keyboardist Mikael Jorgensen, who had engineered Down with Wilco, joined Wilco in 2002 as they toured in support of Yankee Hotel Foxtrot.

Wilco at the Wired Rave Awards in 2003

In November 2003, Wilco traveled to New York City to record their fifth album. The album was produced by Jim O'Rourke, who mixed Foxtrot and was a member of Wilco side project Loose Fur. Unlike Summerteeth and Yankee Hotel Foxtrot, A Ghost Is Born featured songs that were created with Pro Tools before ever performing them live.[70] The album featured the song "Less Than You Think", which included a fifteen-minute track of electronic noises and synthesizers, which Tweedy called "the track that everyone will hate". Tweedy justified the inclusion of the song:[70]

I know ninety-nine percent of our fans won't like that song, they'll say it's a ridiculous indulgence. Even I don't want to listen to it every time I play through the album. But the times I do calm myself down and pay attention to it, I think it's valuable and moving and cathartic. I wouldn't have put it on the record if I didn't think it was great ... I wanted to make an album about identity, and within that is the idea of a higher power, the idea of randomness, and that anything can happen, and that we can't control it.

Leroy Bach left the band immediately after the album's completion to join a music theatre operation in Chicago.[71] Like Yankee Hotel Foxtrot, Wilco streamed the album online before its commercial release. Instead of using their own web page, the band streamed it in MPEG-4 form on Apple's website.[72] Wilco decided to substantially change their lineup after Bach's departure adding Pat Sansone of The Autumn Defense, and avant-garde guitarist Nels Cline to the lineup.[68][73] Just as the band was about to tour to promote the album, Tweedy checked himself into a rehabilitation clinic in Chicago for an addiction to opioids. As a result, tour plans for Europe were canceled, and the release date for the album was set back several weeks.[74] A Ghost Is Born was released on June 22, 2004, and became Wilco's first top ten album in the U.S.[75] The album earned Wilco Grammy Awards for Best Alternative Music Album and Best Recording Package in 2005.[76] It also placed thirteenth on 2004's Pazz & Jop Critics Poll.[77]

In 2004, the band released The Wilco Book, a picture book detailing the creation of A Ghost Is Born. The book also contains writings and drawings from band members, as well as a CD with demos from the A Ghost Is Born recording sessions.[78] Also that year, Chicago Tribune music critic Greg Kot released a biography of the band entitled Wilco: Learning How to Die. The new six-piece Wilco lineup, which has remained intact ever since, debuted on Kicking Television: Live in Chicago, a two disc live album recorded at The Vic Theater in Chicago. Released on November 15, 2005, the album received high accolades from Spin, Billboard, and Entertainment Weekly.[79] As of 2007 it has sold over 114,000 copies.[62]

Sky Blue Sky (2006–2008)

[edit]
John Stirratt discussing making Sky Blue Sky in 2007

Wilco returned to their loft in Chicago to record a sixth studio album in 2006. Influenced by The Byrds and Fairport Convention, the band considered Sky Blue Sky to be less experimental than previous releases.[62] Also unlike on previous albums, the songs were created as collaborations.

Wilco performing at the Roskilde Festival in 2007

Wilco streamed the album online on March 3, 2007, and offered the song "What Light" as a free MP3 download.[80] Further publicizing the album, Wilco licensed several songs from the Sky Blue Sky recording sessions for use in a Volkswagen advertising campaign. The move was criticized by both critics and fans; Wilco responded by noting that they had previously done advertising campaigns with Apple Inc. and Telefónica Móviles (Movistar).[81][82][83] The album was released on May 15, 2007, and was a commercial success: it sold over 87,000 copies in its first week and peaked in the top five in the U.S. album charts.[84] It was a top forty hit in seven other countries.[85]

Reviewer James Brubaker says that Wilco "shine[s] on a handful of the songs" on Sky Blue Sky, such as the "light, and straightforward" songs. While he calls it a "great traditional rock and folk album at times,...the rest of the record comes off at times as dull, and forced."[86] A review in allaboutjazz also had mixed comments. While praising the album as "deceptively insinuating, almost intoxicating to listen to" and noting its "impeccable sound quality," the review said that "Sky Blue Sky becomes the first Wilco album that sounds too careful for its own good."[87]

Pabs Hernandez, a reviewer for Lost at Sea, praised the album's "breezy atmosphere and pacing," and noted that it is not "easily judged upon first listen." Overall, Hernandez mentioned that it "may be no masterpiece, but at worst it's a more than worthy entry into Wilco's laudable catalogue."[88] Reviewer Greg Locke praised the record as "one of the best albums of the year," calling it a "timeless record, full of sweet, hopeful sophistication and class" and "a lean, mean, soulful album." Like Hernandez, Locke acknowledged that the album could not be properly judged just on the first listening.[89] The NPR review also had a positive take on the record. While the NPR reviewer stated that the recording "isn't groundbreaking," they praised its "coherent musical expression" and emphasis on "solid songcraft without pretense" which created a "satisfying and melodically sound album."[90]

In anticipation of the 2008 US presidential election, Wilco released a downloadable version of Bob Dylan's "I Shall Be Released" that they performed with Fleet Foxes. The MP3 was available as a free download from the band's website in exchange for a promise to vote in the election.[91] The band also made an appearance on The Colbert Report to support presidential candidate Barack Obama.[92] Wilco released a live performance DVD, Ashes of American Flags, on April 18, 2009, to celebrate Record Store Day.[93]

In December 2008, Jeff Tweedy, Pat Sansone, Glenn Kotche, and John Stirratt traveled to Auckland, New Zealand to participate in Neil Finn's 7 Worlds Collide sequel project, The Sun Came Out, joined by Ed O'Brien, Phil Selway, Johnny Marr, KT Tunstall, Liam Finn, and Lisa Germano. They wrote and recorded several new tracks for the Oxfam-benefiting album including "You Never Know," "What Could Have Been," "Over and Done," and "Don't Forget Me." Jeff Tweedy co-wrote "Too Blue" with Johnny Marr, and Glenn, John, and Pat play on most tracks on the album.[94]

The band stayed in Auckland through January recording for their next album at Finn's own Roundhead Studios. Jim Scott, who was the engineer and mixer for the Neil Finn project, stayed on in the same capacity for the Wilco sessions. Nels Cline and Mikael Jorgensen later added overdubs to the tracks at the band's Chicago Loft.

Wilco (The Album), founding dBpm Records, and The Whole Love (2009–2011)

[edit]

Wilco released their seventh album, Wilco (The Album), on June 30, 2009.[95] In March 2009, it was announced that singer-songwriter Feist would make a guest appearance on the new album, on the track "You and I".[96] As with their previous three albums, Wilco streamed the entirety of the album on its website prior to release.[97] The album hit the charts at a career-high number 4 with sales of 99,000 on the Billboard Top 200 Album chart as well as the number 2 spot on Billboard's Top Rock Albums chart.[98] It marked Wilco's third top 10 album on the U.S. pop chart. The album's first single "You Never Know" reached the number 1 spot on the AAA Chart, their first number 1 in twelve years.[99]

Beginning in April 2009, the band freely distributed a cover of Woody Guthrie's "The Jolly Banker", downloadable from their website. It was recorded at the Wilco loft in February of that year, at the suggestion of Guthrie's daughter, Nora.[100] Those downloading the album were encouraged to donate to the Woody Guthrie Foundation. Feist returned to accompany on the track, playing the Garden Weasel.[101] The track eventually became unavailable for download. In October 2011, the website began streaming the track via a plugin.[102]

On May 25, 2009, former band member Jay Bennett died in his home in Urbana, Illinois.[103] In a prepared statement, Jeff Tweedy said that he was "deeply saddened" by Bennett's death.[104]

Feist and Wilco performed "You and I" on Late Show with David Letterman on July 14, 2009.[105] In June during their West Coast tour, Wilco joined Beck, Feist, Jamie Lidell and James Gadson in the studio to take part in Beck's Record Club project, covering Skip Spence's Oar album.[106] The first song "Little Hands" was posted on Beck's website on November 12, 2009.

Wilco performing at the End of the Road Festival in 2010

On April 6, 2010, Wilco announced during their Boston performance that they would be headlining and curating a festival in North Adams, Massachusetts, dubbed Solid Sound Festival. The event ran at the Massachusetts Museum of Contemporary Art from August 13–15, and featured various Wilco side projects, including The Autumn Defense, Pronto, The Nels Cline Singers, and Jeff Tweedy solo.[107] Other bands who appeared included Mavis Staples, Avi Buffalo, Outrageous Cherry, Richard Bishop, the Books, and Vetiver. It also featured non-musical media, such as the Bread and Puppet Theater and comedians Todd Barry, Kristen Schaal, John Mulaney, and Hannibal Buress as well as interactive musical installations by Cline and Kotche. In November 2016, the band also curated their own program during the tenth Anniversary Edition of Le Guess Who? Festival in Utrecht, The Netherlands. This curated program includes performances by amongst others Tortoise, Bassekou Kouyaté, Lee Ranaldo, Fennesz, Steve Gunn, William Tyler, and The Cairo Gang.

Wilco's contract with Nonesuch ended in 2010 and they formed their own label. Wilco announced via their web site and Twitter page on January 27, 2011 that the new label will be called dBpm Records (Decibels per Minute) and will be run out of the offices of their manager, Tony Margherita, in Easthampton, Massachusetts.[108]

Wilco's released their eighth studio album, The Whole Love, on September 27, 2011.[109] The first single of the album is titled "Art of Almost". The B-Side to "I Might" is a cover of Nick Lowe's 1977 song "I Love My Label". The single was shown at the Wilco's 2011 Solid Sound Festival at MassMoca and was met by positive reviews. The entire album was streamed live on Wilco's official website for 24 hours between September 3 and 4, 2011.[110]

Star Wars, Schmilco, and Ode to Joy (2015–2021)

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Wilco performing in Des Moines, Iowa, in 2015

Wilco's released their ninth studio album, Star Wars, on July 16, 2015 as a surprise free download.[111] In October 2015, Wilco announced that they would embark on a U.S. tour beginning in early 2016 in support of the album.[112] In December 2015, Star Wars was nominated for the Grammy Award for Best Alternative Music Album.[113]

On July 14, 2016, the band released a new single, titled "Locator", as a free download.[114] Four days later, the band released another new single, titled "If I Ever Was a Child", and announced that their tenth album, Schmilco, would be released on September 9.[115] Schmilco earned generally favourable reviews, earning a positive score of 79 on Metacritic,[116] while reviewer Josh Modell said that the album is "Wilco's most musically simple and emotionally resonant record in a decade."[117] On Monday, August 14, 2017, Wilco released a single, "All Lives You Say" on their Bandcamp page to benefit the SPLC in memory of Tweedy's father Robert, who died on August 4. Sharing the news Tweedy said, "My dad was named after a Civil War general, and he voted for Barack Obama twice. He used to say 'If you know better, you can do better.' America-we know better, we can do better."[118]

Wilco took 2018 off from touring while Glenn Kotche lived in Finland after his wife Miiri received a Fulbright scholarship.[119] The band announced an end to their performing hiatus and the release of the album Ode to Joy on July 16, 2019.[120] The album was released on October 4, 2019[120] and received generally positive reviews with Will Hermes of Rolling Stone calling it their "best in years" and delivers "something like love shines through, and it winds up sounding joyful indeed, in a hard-won way."[121] The album won the Grammy Award for best Special Limited Edition Package.[122]

Wilco followed the release with an autumn tour, the tour later being extended into 2020.[123][124] In March 2020, Wilco and Sleater-Kinney announced that over the summer they would be embarking on the co-headlining It's Time Tour.[125] After the cancellation of the tour in the wake of the COVID-19 pandemic, Wilco and Sleater-Kinney eventually rescheduled the tour for the summer of 2021.[126] In October 2021, Wilco was inducted into the Austin City Limits Hall of Fame for their multiple contributions to the live music series that airs on PBS.[127]

During the COVID-19 lockdown, the band released the single "Tell Your Friends" on Bandcamp on May 20, 2020, with all proceeds benefiting World Central Kitchen.[128] In July 2020, as a voice to the larger cultural discussion and protests surrounding the murder of George Floyd, Tweedy announced that 5% of all his writer royalties would be donated to a program that distributes the funds to organizations fighting for racial justice, saying that the modern music industry is "built almost entirely on black art" and that "the wealth that rightfully belonged to black artists was stolen outright and to this day continues to grow outside their communities."[129]

Jay Bennett documentary, Cruel Country, and Cousin (2021–present)

[edit]

In 2021, Where are you, Jay Bennett?, a feature-length documentary about the life of Jay Bennett was released. The film focused heavily on Bennett's years with Wilco. Directed by Gorman Bechard and Fred Uhter, the music documentary held its world premiere in Chicago in November 2021;[130] it was released on Blu Ray and pay-per-view on April 19, 2022, and as part of a Record Store Day release with vinyl editions of Bennett's last two albums, Whatever Happened I Apologize and Kicking at the Perfumed Air on April 23, 2022.[131]

"The new film does a wonderful job of capturing the quirkiness, inventiveness and brilliance of someone who never met an instrument he couldn't play. Bennett once described hearing the open spaces of the songs and holes that became his sonic landscape. They were at the core of the remarkable string of Wilco's albums Being There, Summerteeth, and Yankee Hotel Foxtrot."[132]

The film was originally started by Uhter, who asked the prolific Bechard to take over the project when it stalled. It takes a hard look at Bennett's treatment in the previous Wilco documentary, I Am Trying To Break Your Heart, which many consider to be unfair. "Jay Bennett's reputation never quite recovered from the battering it took in Sam Jones' documentary I Am Trying To Break Your Heart: A Film About Wilco, about the complex, lengthy gestation of 2002's Yankee Hotel Foxtrot in often painful detail, portrayed a band slowly pulling itself apart, with chief songwriters Bennett and Jeff Tweedy its twin opposing forces. The implication being that Bennett was a headstrong, intractable figure responsible for most of the discord. He was sacked as soon as the album was done. Filmmakers Gorman Bechard and Fred Uhter seek to redress the balance on Where Are You, Jay Bennett?".[133] The film painted a much more balanced picture of the relationship between Bennett and Tweedy. "They just happened to be two egos at that point, fueled by a lot of demons. And it just wasn't working anymore," Bechard explained. "They're both incredibly talented. They both had egos. They both, I think, saw maybe different paths for the band. And ultimately it was Jeff's band, so he's going to win that, and rightfully so. There were other issues, whether it be alcohol or drugs. You know, it was a little bit of everything. Personally, I wish they had stayed together because I think they could have literally become the next Lennon and McCartney or the next Jagger/Richards."[134]

In April 2022, the band announced their twelfth studio album, Cruel Country, which they released on May 27.[135] The album was recorded entirely in person in live sessions at The Loft, the first album since 2007's Sky Blue Sky. Tweedy described the album as saying, "We've never been particularly comfortable with accepting [...] the idea that I was making country music. But now, having been around the block a few times, we're finding it exhilarating to free ourselves within the form, and embrace the simple limitation of calling the music we're making country."[135]

In August 2023, the band announced their thirteenth studio album, Cousin, which they released on September 29. Welsh musician Cate Le Bon produced the album.[136]

On May 29, 2024, the band announced a new EP, Hot Sun Cool Shroud. It was released on June 28.[137]

On May 16, 2025, the band released a new live album, Wilco Live (Orange). It was followed on June 20, 2025, by Wilco Live (Blue).

In August 2025, the band embarked on a North American tour titled An August Evening with Wilco,[138] followed by South American and European legs. Many of the dates feature no supporting act and contained two full Wilco sets with a brief intermission.[139]

Musical style and influence

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Wilco performing in support of Sky Blue Sky at Festival Internacional de Benicàssim on July 20, 2007

Mark Deming of AllMusic described Wilco's early releases as "rough-and-tumble alt-country" and their later releases as "mature and eclectic".[140] Although they have a career-long association with a major record label, Wilco are generally associated with indie rock.[58][141] The band has additionally been described by journalists as alternative rock,[142] alt-country,[143] art rock,[144] experimental rock,[145] and folk rock.[146] Wilco draws influence from bands from a variety of musical genres, but primarily from music created between 1966 and 1974.[147][148] John Cale's Paris 1919 was credited by the band as providing a musical parallel. According to Tweedy, "It was eye-opening that I wasn't the only person that felt like these worlds had a lot more in common than they'd been given credit for—that experimentation and avant-garde theory was not directly opposed to beauty, y'know?"[149]

Other recording artists from the timespan cited as most influential by the band include John Lennon, Neil Young, and Brian Wilson.[150][151] As a gift for his thirty-fourth birthday, Tweedy received a private guitar lesson from Richard Lloyd of Television; Tweedy was a fan of the group and was particularly fond of the guitar work, which he wanted to incorporate into his music.[70] Uncle Tupelo was inspired by bands such as Jason & the Scorchers and the Minutemen, influencing the recording of Wilco's A.M..[152] Tweedy and O'Rourke enjoyed free jazz artists such as Ornette Coleman, Albert Ayler, and Derek Bailey; they also listen to mainstream jazz by artists such as Miles Davis and John Coltrane.[153][154] The lyrical structure of Wilco's songs was dictated by classic literature and cadavre exquis—an exercise where band members take turns writing lines on a typewriter, but are only allowed to see the previously written line.[154] Among the books that the band has cited as being stylistically influential include William H. Gass's In the Heart of the Heart of the Country, Henry Miller's Tropic of Cancer, and Harold Bloom's The Anxiety of Influence: A Theory of Poetry.[154][155]

Some critics have dubbed Wilco the "American Radiohead", due to the band's stylistically diverse catalog.[156][157][158] A critic from the New York Times argues that Wilco has a "roots-rock ... [sound which] reached back to proven materials: the twang of country, the steady chug of 1960s rock, the undulating sheen of the Beach Boys, the honky-tonk hymns of the Band and the melodic symmetries of pop."[159]

Rolling Stone described Wilco as "one of America's most consistently interesting bands" and "America's foremost rock impressionists."[160][161] Bands that Wilco has influenced include Derek Webb (of Caedmon's Call),[162] the National,[163] and Grace Potter and the Nocturnals.[164] Adam Grunduciel of The War on Drugs calls Wilco his "Favorite modern day band."[165] Norah Jones performed a cover of "Jesus, Etc." at the 2008 Bridge School Benefit where both Jones and Wilco performed;[166] a version of the song was released as a bonus track on Jones' album The Fall in 2009. Counting Crows also covered the song "California Stars."[167]

Band members

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Timeline

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Discography

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Main article: Wilco discography

See also

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Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Wilco

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Wilco is an American rock band formed in 1994 in Chicago, Illinois, by singer-songwriter Jeff Tweedy and remaining members of the alternative country group Uncle Tupelo after its frontman Jay Farrar departed. Initially drawing from alt-country roots, the band evolved toward indie and experimental rock, characterized by intricate songwriting, layered production, and genre-blending experimentation under Tweedy's consistent leadership. The group's lineup has shifted over time, with the core since 2004 comprising Tweedy (vocals, guitar), bassist John Stirratt, drummer Glenn Kotche, guitarist Nels Cline, multi-instrumentalist Pat Sansone, and keyboardist Mikael Jorgensen. Wilco has produced thirteen studio albums, including early works like Being There (1996) and Summerteeth (1999), but gained widespread recognition with Yankee Hotel Foxtrot (2002), which faced rejection from their label Reprise Records over creative differences, prompting the band to exit the contract and stream the album for free online before its commercial release by Nonesuch Records. This episode exemplified Wilco's commitment to artistic control, influencing their subsequent independent path and critical acclaim, with later albums like A Ghost Is Born (2004) earning Grammy Awards for Best Alternative Music Album and Best Recording Package. The band continues to tour and release music, including Cousin (2023) and Twilight Override (2024), maintaining a reputation for innovation amid lineup stability and festival curations like Solid Sound.

History

Formation and early albums (1994–1996)

Wilco formed in 1994 in the aftermath of the alternative country band Uncle Tupelo's dissolution, with singer-songwriter Jeff Tweedy assembling the initial lineup from former collaborators and new additions. The core members included Tweedy on vocals and guitar, John Stirratt on bass, Ken Coomer on drums, and Max Johnston on fiddle, mandolin, and other string instruments, establishing a Chicago-based outfit rooted in the twangy, roots-oriented sound of their predecessors. This configuration drew directly from Uncle Tupelo's final touring personnel, excluding co-founder Jay Farrar, who departed amid creative differences to form Son Volt. The band's debut album, A.M., emerged quickly, released on March 28, 1995, via just months after Uncle Tupelo's end. Recorded at Easley Recording in , and produced by Brian Paulson—who had helmed Uncle Tupelo's final sessions—the 14-track effort featured guest contributions from guitarist on lead guitar and backing vocals, alongside mixing by Richard Dodd at Nashville studios. Tracks like "Box Full of Letters" and "Misunderstood" showcased concise, radio-friendly alt-country with riffs and pedal steel accents, peaking at number 46 on the Heatseekers chart but selling modestly at around 50,000 initial copies. By mid-1996, Wilco expanded its sound and personnel for the follow-up, , a recorded across multiple sessions from September 1995 to July 1996 at studios including Recording Company and Warzone Recorders in , The Studio in , and Moonshine Studios in . Multi-instrumentalist joined as a full member, contributing guitar, keyboards, and production alongside Tweedy, enabling a broader palette of influences, horn sections, and layered arrangements on its 19 songs. Released October 29, 1996, on , the album debuted at number 93 on the , certified gold by 2002 after surpassing 500,000 units, and marked Wilco's pivot toward ambitious, genre-straddling songcraft while retaining core roots elements.

Transition to experimental sound: Summerteeth and Mermaid Avenue (1997–2000)

In 1997, British singer-songwriter Billy Bragg enlisted Wilco to compose music for previously unpublished lyrics by Woody Guthrie, initiating the Mermaid Avenue project. The bulk of the recording occurred in early 1998 at Windmill Lane Studios in Dublin, Ireland, where Wilco provided instrumentation, harmonies, and arrangements for tracks like "California Stars" and "Hoodoo Voodoo," merging Guthrie's folk poetry with alt-rock energy. Mermaid Avenue was released on June 23, 1998, by Elektra Records, peaking at number 89 on the Billboard 200 and earning a Grammy nomination for Best Contemporary Folk Album. A follow-up, Mermaid Avenue Vol. II, drawing from additional sessions and lyrics, appeared in 2000 on the same label. This collaboration highlighted Wilco's adaptability in acoustic, narrative-driven settings, diverging from their prior electric alt-country focus while fostering creative interplay with external material. Parallel to these sessions, Wilco commenced work on their third studio album in late 1997 at Pedernales Recording Studio in Spicewood, , owned by , laying down basic tracks before pausing for Mermaid Avenue obligations. Resuming in 's Kingsize Sound for overdubs, the band—led by and multi-instrumentalist —employed techniques like dense vocal layering, choirs, and guitar effects such as the Maestro Rover, yielding Summerteeth, released March 9, 1999, on . The album's 14 tracks blended melodic pop hooks with experimental flourishes, including , chimes, and abrupt sonic disruptions in songs like "Via Chicago," reflecting influences from 1960s and orchestral rock. Summerteeth sold over 200,000 copies in the U.S., received widespread critical praise for its studio craftsmanship, and charted at number 80 on the , signaling Wilco's pivot from roots-oriented live recordings to intricate, effects-heavy production that masked darker lyrical themes under bright arrangements. This era's dual pursuits—folk revival via and pop experimentation in —laid groundwork for Wilco's further sonic boundary-pushing, emphasizing composition over genre constraints.

Yankee Hotel Foxtrot and label disputes (2001–2002)

Wilco began recording in late 2000 at Chicago's Soma Studio, following the experimental leanings of their prior work , with producer Jim O'Rourke emphasizing layered, abstract arrangements featuring orchestral elements, feedback, and tape loops. The sessions, spanning into early 2001, saw internal shifts including the departure of drummer and multi-instrumentalist Bob Egan, replaced by and later contributions from . By June 2001, the band completed and delivered the finished album to , their label under . Reprise executives, amid post-merger cost-cutting at Time Warner, rejected the album, citing its lack of commercial singles, challenging structure, and divergence from radio-friendly alt-country norms. A&R consultant conveyed the rejection directly to frontman on the same day Warner informed the band, urging revisions that Wilco declined, prioritizing artistic integrity over label demands. The dispute escalated as Wilco faced potential shelving of their $500,000 investment in recording costs, highlighting tensions between major-label expectations and indie-leaning creativity during an industry downturn. In August 2001, terminated Wilco's contract but permitted to retain the masters for a $50,000 buyout, an unusually lenient outcome amid Warner's internal flux. Wilco then streamed the full for free on their starting , 2001—five days before the originally planned release date of , which was postponed due to the 9/11 attacks—pioneering digital promotion that garnered widespread media attention and fan acclaim. Despite the split, Wilco signed with , a Warner imprint focused on non-commercial artists, enabling release without additional fees or re-recording, as both labels shared corporate ownership. Yankee Hotel Foxtrot debuted at number 13 on the upon its physical release on April 23, 2002, marking Wilco's commercial breakthrough and validating their resistance to label interference, though the saga underscored major labels' risk aversion toward . The events fueled narratives of artist empowerment, with Tweedy later noting the buyout's low cost relative to the album's eventual sales exceeding 500,000 copies in the U.S.

Post-YHF consolidation: Down with Wilco, A Ghost Is Born, and live output (2003–2005)

Following the release and acclaim of Yankee Hotel Foxtrot in 2002, Wilco participated in a collaborative project with Scott McCaughey's The Minus 5, resulting in the album Down with Wilco, recorded during sessions in September and December 2001 at SOMA Studios in Chicago. Produced by McCaughey and Wilco frontman Jeff Tweedy, the album featured Wilco's then-current lineup—Tweedy, John Stirratt, Glenn Kotche, and Leroy Bach—providing instrumentation and backing for McCaughey's songwriting, alongside contributions from R.E.M.'s Peter Buck and Sean O'Hagan of The High Llamas. Released on February 25, 2003, via Yep Roc Records, the 14-track album blended power pop, country, and experimental textures, reflecting the transitional period amid Wilco's post-YHF label shift to Nonesuch Records. Wilco then focused on their fifth studio album, , which built on 's experimental ethos while incorporating longer improvisational structures and electronic elements. Initial sessions commenced in early 2002 at Chicago's SOMA E.M.S. studio, the site of YHF's mixing, before relocating to New York City's Sear Sound for further recording; the album was co-produced by the band and Jim O'Rourke, engineered by Chris Shaw, and mixed by O'Rourke. Multi-instrumentalist and guitarist joined as full members during this phase, expanding the band's sonic palette with contributions to tracks like the 10-minute opener "Spiders (Kidsmoke)," which fused rhythms and noise guitar. Released on June 22, 2004, by Nonesuch, the album debuted at number 2 on the , selling over 78,000 copies in its first week, and earned in 2005 for Best Alternative Music Album and Best Recording Package. Critics noted its balance of accessibility and abstraction, though some highlighted Tweedy's lyrical themes of pain and disconnection as more raw than prior works. The band supported A Ghost Is Born with extensive touring from mid-2004 through 2005, performing over 100 shows across and , often featuring expanded setlists that revisited YHF material alongside new improvisations. These performances showcased the expanded lineup's chemistry, with Cline's free-jazz influences and Sansone's multi-instrumental support enabling dynamic live renditions, such as extended jams on "Spiders (Kidsmoke)." This touring culminated in the double live album Kicking Television: Live in Chicago, recorded during five sold-out nights at the Aragon Ballroom on November 4–7, , capturing 23 tracks spanning Wilco's catalog. Released on November 15, 2005, by Nonesuch, the album highlighted the band's onstage energy and fidelity to studio arrangements, peaking at number 43 on the and reinforcing their reputation for robust live output amid the post-YHF stabilization.

Mainstream refinement: Sky Blue Sky and touring (2006–2008)

Wilco recorded Sky Blue Sky, their sixth studio album, at The Loft in Chicago from November 2006 to January 2007, with the band handling production and TJ Doherty engineering. The sessions emphasized Jeff Tweedy's songwriting, yielding a collection of 12 tracks blending alt-country, folk rock, and subtle jazz elements, diverging from the band's prior experimental intensity toward a more subdued, melody-driven approach. Released May 15, 2007, on Nonesuch Records, the album debuted at number four on the US Billboard 200, moving 87,000 copies in its first week—Wilco's strongest chart entry and sales debut to date. It later earned gold certification for 500,000 US units shipped and secured a Grammy nomination for Best Rock Album in 2008. Critics praised its warmth and accessibility, with outlets like , Uncut, and Mojo including it on 2007 year-end lists, though some, such as , faulted its straightforwardness as unadventurous "dad-rock." Standout tracks like "Impossible Germany" highlighted guitarist Nels Cline's extended solos, showcasing the stable lineup including multi-instrumentalist . To promote Sky Blue Sky, Wilco launched a worldwide tour in 2007, featuring US dates, a Bonnaroo Music Festival slot in June, and European festival appearances including Roskilde. Early shows included a May 25 performance of the title track and "You Are My Face" on Later... with Jools Holland. The band maintained momentum into 2008 with North American theater residencies, such as multiple nights at Chicago's Riviera Theatre in February, where setlists heavily favored new material amid reports of the group in "peak form." This period solidified Wilco's live reputation for intricate arrangements and improvisational flair, drawing larger audiences attuned to the album's refined sound.

Independent era: Wilco (The Album), dBpm founding, and The Whole Love (2009–2011)

Wilco released their seventh studio album, Wilco (The Album), on June 30, 2009, through Nonesuch Records. The record, produced by the band alongside Jim Scott, featured a return to more straightforward rock arrangements compared to prior experimental works, with tracks like "You and I" incorporating guest vocals from Feist. It received a Grammy nomination for Best Americana Album in 2010. Following the album's release, Wilco parted ways with in July 2010, concluding their association with imprints that dated back to the band's early career. In January 2011, the band founded dBpm Records, their own full-service independent label, entering a distribution partnership with Anti- Records (an subsidiary) to handle physical and digital releases while retaining creative control. dBpm, named after a unit measuring musical intensity, marked Wilco's shift to self-managed operations, allowing direct fan engagement through their website and merchandising. The label's inaugural release, , Wilco's eighth studio album, arrived on September 27, 2011. Recorded at the band's studio, The Loft, during 2010–2011 sessions, the album blended psychedelic opener "Art of Almost" with rootsy tracks like "Born Alone," produced by Tweedy and the core lineup. Initial singles "I Might" and "Born Alone" were shared via the band's website, underscoring their independent distribution strategy. The release coincided with extensive touring, including headlining festivals, affirming the band's operational autonomy post-label transition.

Experimental resurgence: Star Wars, Schmilco, and Ode to Joy (2015–2021)

Wilco's output from 2015 to 2021 marked a shift back toward sonic experimentation after the relatively conventional rock structures of The Whole Love (2011), emphasizing bold distribution strategies, minimalist production, and genre-blending textures. The band's stable lineup—Jeff Tweedy (vocals, guitar), John Stirratt (bass), Glenn Kotche (drums), Nels Cline (guitar), Pat Sansone (multi-instruments), and Mikael Jorgensen (keyboards)—facilitated this creative pivot without personnel disruptions. Star Wars, released digitally for free on July 16, 2015, via wilcoworld.net under the dBpm label, exemplified this resurgence through its noisy, psychedelic distortions layered over alt-country foundations. Recorded at The Loft in and later issued physically by Anti- on July 24, 2015, the album prioritized raw energy over refinement, with tracks like "EKG" showcasing glitchy electronics and abrupt shifts. This unorthodox free-release model, bypassing traditional sales, underscored Wilco's independence and willingness to subvert industry norms, while critics noted its playful accessibility amid experimental chaos. Complementing Star Wars' intensity, arrived on September 9, 2016, via dBpm, adopting a lo-fi, acoustic aesthetic as a deliberate . Featuring 12 Tweedy-penned songs with sparse arrangements and introspective lyrics on themes like normalcy and discontent, the album's minimalist evoked a garage-band intimacy, diverging from prior polish. Released in a digisleeve, it maintained the band's exploratory ethos through subdued experimentation, earning praise for its unpretentious emotional directness. Ode to Joy, Wilco's eleventh studio album, emerged on October 4, 2019, through dBpm, extending this phase with skeletal, loose arrangements that highlighted subtle guitar melodies and vocal vulnerability. Produced by Tweedy and Tom Schick at The Loft, the record's 11 tracks explored personal and societal tensions via concise structures and innovative mixing, blending desolation with uplift in a manner critics described as vital and boundary-pushing. Reception emphasized its production finesse and emotional resonance, positioning it as a mature evolution of the period's experimental leanings. Throughout these years, Wilco sustained touring momentum, including festival appearances, to promote the albums' diverse sonic palettes.

Recent output: Cruel Country, Cousin, and ongoing tours (2021–present)

In May 2022, Wilco released Cruel Country, their twelfth studio album and first , comprising 21 tracks recorded primarily during the at the band's studio, The Loft. Self-released on their dBpm Records imprint, the album drew on alt-country roots with sparse, acoustic arrangements emphasizing Jeff Tweedy's songwriting on themes of personal and national disillusionment, including singles "Falling Apart (Right Now)" and "Tired of Taking Chances." On September 29, 2023, Wilco issued , their thirteenth studio album, also via dBpm and recorded over two years at The Loft with a focus on concise and folk elements. The ten-track effort featured lead singles "" and the title track, showcasing the band's core lineup's interplay of guitar-driven textures and Tweedy's introspective lyrics on transience and eviction—literal and metaphorical. Wilco resumed extensive live performances post-pandemic, supporting Ode to Joy into 2021 before aligning tours with Cruel Country and releases, including U.S. headline dates, festival appearances, and international shows through 2024. Activity continued into 2025 with the "An Evening with Wilco" North American tour dates in mid-August, select Outlaw Music Festival slots alongside , and further fall concerts in cities like , , and scheduled through October. In June 2024, the band released the four-track EP Hot Sun Cool Shroud on dBpm, extending their output with experimental electronic and ambient pieces.

Musical style and evolution

Core influences and alt-country roots

Wilco's alt-country foundations originated with the band's predecessor, , formed in 1987 in , by and alongside drummer . Uncle Tupelo pioneered the alt-country genre by fusing the raw energy of with traditional country and folk elements, creating a sound distinct from mainstream Nashville country. Their debut album, No Depression (June 21, 1990), exemplified this approach through tracks like the title song—a cover of a piece reinterpreted with punk vigor—which lent its name to the influential alt-country publication No Depression. Key influences included punk bands such as the and , whose concise, high-energy style informed Uncle Tupelo's unpolished delivery, as Tweedy noted the 's Buzz or Howl Under the Influence of Heat EP provided a liberating model for blending punk simplicity with rock and . Farrar described the process as "taking the energy of punk and putting it into songs," drawing from roots figures like while rejecting commercial polish. This synthesis extended to broader American music traditions, with Tweedy citing the Stax/Volt soul catalog's connective threads across soul, punk, folk, and as shaping Uncle Tupelo's acoustic-leaning works like March 16–20, 1992. Following Uncle Tupelo's 1994 dissolution after their final album Anodyne (October 5, 1993), Tweedy assembled Wilco from surviving members, including bassist , to continue this hybrid ethos. Wilco's debut A.M. (March 28, 1995) retained alt-country hallmarks—twangy guitars, pedal steel, and narrative-driven songs rooted in Midwestern Americana—while echoing the punk-infused roots that Tweedy and Farrar had innovated, as the band aimed to craft "something that didn’t exist yet." This core blend established Wilco's early identity within the No Depression movement, prioritizing authenticity over genre conventions.

Shifts toward experimentation and genre blending

Wilco's transition from alt-country foundations to broader experimentation commenced notably with the 1999 release of , which fused densely layered pop melodies with production techniques, including synthesizers and multi-tracked vocals that evoked influences from and ' wall-of-sound aesthetic. This album deviated from the band's prior roots-oriented work by integrating dissonance and experimentation, as heard in tracks like "Via Chicago," where abrupt shifts in dynamics and instrumentation disrupted conventional song forms. The result was a genre-blending effort that prioritized studio craft over live-band immediacy, with co-producer Jim O'Rourke contributing to its polished yet subversive sonic palette. The pivotal shift materialized fully on (2002), where Wilco dismantled rock structures through atmospheric noise, tape loops, and harmonic ambiguity, drawing parallels to My Bloody Valentine and while retaining melodic cores rooted in Americana. Engineered with input from , the album's opening track "I Am Trying to " spans nearly seven minutes of fragmented guitars, feedback swells, and spoken-word interludes, exemplifying a deconstructed that blended exploratory sound collaging with ragged alt-country echoes. This approach alienated some early fans accustomed to straightforward country-rock but established Wilco as innovators willing to prioritize textural depth over commercial accessibility, with sales eventually surpassing 590,000 copies in the U.S. by 2003 despite initial label rejection. Subsequent albums sustained and expanded this trajectory; A Ghost Is Born (2004) incorporated krautrock-inspired motorik rhythms, analog loops, and improvised noise bursts, as in the 10-minute "Less Than You Think," which transitions from piano balladry to sustained feedback and ambient drones. Produced again by , the record merged electric guitars and drums with electronic aberrations, earning a Grammy for Best Alternative Music Album in 2005 and underscoring Wilco's evolution into an eclectic outfit that traversed , , and electronics without rigid genre adherence. These developments reflected a deliberate embrace of studio-as-instrument philosophy, enabling genre fluidity that persisted across later works like the lo-fi abstractions of Star Wars (2015).

Production techniques and sonic innovations

Wilco's production techniques emphasize collaborative experimentation within their studio, The Loft, established as a creative hub since the early , where band members contribute to arrangements prioritizing emotional depth over technical perfectionism. , serving as primary producer, focuses on big-picture song integrity, delegating mixing and engineering details to collaborator Tom Schick to maintain a collective spirit free of individual egos or trend-chasing. This philosophy avoids direct references to other recordings, instead using subjective descriptors like "despondent" to guide sonic choices, ensuring productions serve the material's inherent qualities rather than imposed . A hallmark innovation appeared in (2002), where Wilco transitioned from digital formats to analog tape, incorporating backwards loops, detuned radio signals, static bursts, and guitar feedback to subvert folk-country structures with electronic disorientation. Mixing engineer Jim O'Rourke applied physical tape edits—splicing repeated choruses—and eschewed reverb for a stark, dry intimacy that heightened presence and texture, achieved through elements like samples and phonetic alphabet broadcasts. Further experimentation included manipulating guitar strings with an electronic egg whisk and employing a Kaoss Pad for real-time pitch-bending, blending acoustic instrumentation with noise to evoke miscommunication and fragmentation. Subsequent albums extended this ethos of deconstruction and reinvention; (1999) marked an early digital shift with layered keyboards and vocal treatments by mixer , introducing contemporary sheen to alt-country roots. In (2004), engineered by Chris Shaw at Queensize Sound, Wilco amplified loop-based electronics and fuzz-laden atmospherics, stripping tracks to core elements before rebuilding with bubbling bass and percussive accents for a haunted, inverted experimentalism. Later releases like Star Wars (2015), recorded swiftly at The Loft over 11 tracks in under 34 minutes, prioritized raw immediacy—produced and mixed by Tweedy and Schick—eschewing polish for lo-fi urgency and psychedelic edges that echoed the band's penchant for surprise and unrefined energy. This dry vocal aesthetic, often augmented by slapback delay rather than reverb, recurs across their catalog, fostering clarity and band interplay while enabling genre-blurring innovations from noise collages to tremolo-guided rhythms.

Critical reception and legacy

Acclaim for innovation and longevity

Wilco's innovative approach garnered significant critical praise, particularly with the release of in 2002, which exemplified the band's willingness to blend experimental noise, electronic elements, and traditions in ways that defied conventional genre boundaries. Critics highlighted the album's groundbreaking production and the band's DIY distribution strategy—streaming the full record online for free after a label dispute—as a pivotal moment that challenged industry norms and influenced practices. This era solidified Wilco's reputation as a beacon of creativity, with reviewers noting how frontman Jeff Tweedy's leadership fostered sonic experimentation without commercial compromise. Over three decades since forming in , Wilco has received acclaim for its remarkable longevity and consistent evolution, maintaining relevance through a diverse catalog that spans alt-country origins to explorations in albums like (2004) and Star Wars (2015). Music outlets have described the band as a "marvel of endurance, longevity, and consistency," crediting its ability to produce high-quality output—10 studio albums by 2019—while adapting to lineup changes and stylistic shifts. This sustained innovation, from merging introspective songwriting with improvisational influences to embracing lo-fi aesthetics in later works, has positioned Wilco among the most praised indie-rock acts of the past 25 years, with critics emphasizing its refusal to stagnate despite industry pressures.

Criticisms of inconsistency and fan alienation

Wilco's stylistic evolution from alt-country roots to experimental and genre-blending sounds has drawn criticism for inconsistency across their discography, with reviewers pointing to abrupt shifts that result in uneven albums. For instance, the 2004 album was described as a "wildly uneven album, fluctuating in both mood and quality over the course of its one hour runtime," highlighting disjointed transitions between psychedelic jams and more restrained tracks. Similarly, a 2007 review characterized Wilco's output as "wildly inconsistent—CD to CD, even song to song," attributing this to the band's reluctance to settle into a fixed aesthetic despite their technical prowess. These variations, while innovative to some, have been faulted for lacking cohesion, as seen in (2009), where stylistic unevenness disrupts the overall listen despite standout tracks. Such inconsistency has contributed to fan alienation, particularly among those drawn to the band's early alt-country phase via Jeff Tweedy's heritage, who found later experimental detours jarring. Albums like (2002) marked a polarizing turn toward abstract art rock, alienating listeners expecting continuity with the accessible Americana of (1996) or (1999). This pattern persisted, with post-2007 releases like criticized for simplifying complex themes into "direct" lyrics lacking the "sonic " of prior works, prompting fans of deeper experimentation to decry a perceived artistic decline. Subsequent efforts, including the lo-fi Star Wars (2015), further divided audiences by stepping back from Americana without fully satisfying experimental expectations, leading some to view as directionless. Fan reactions often reflect era-specific loyalties, with online discourse and reviews lamenting a post-Yankee Hotel Foxtrot "downhill" trajectory, where albums like Cousin (2023) are dismissed as "small, middle-of-the-road" for underutilizing talents like guitarist Nels Cline and omitting anthemic elements such as extended solos. Tweedy has addressed such critiques, suggesting detractors' insecurity with unfamiliar territory underlies dismissal of stylistic pivots, yet this has not quelled perceptions of the band prioritizing personal exploration over audience retention. While Wilco's adaptability sustains critical acclaim in innovation sections, these inconsistencies have fostered a fragmented fanbase, with some early supporters drifting as the group eschews rootsy cohesion for restless reinvention.

Cultural and industry impact

Wilco's handling of (2002) underscored major label inefficiencies and bolstered arguments for artist autonomy in the music industry. After funded the album's production, executives deemed it uncommercial and attempted to shelve it, prompting Wilco to buy back its contract and retain master rights without reimbursing costs. The band's subsequent decision to stream the full album gratis on its website ahead of physical release marked an early high-profile experiment in digital dissemination, challenging traditional distribution models and amplifying pre-release buzz. Its commercial success—peaking at number 13 on the and earning platinum certification—highlighted indie-leaning imprints' viability under major umbrellas, foreshadowing the mid-2000s surge. In , Wilco established dBpm Records ("decibels per minute") as an independent full-service label, partnering with Anti- (an subsidiary) for distribution and marketing. This move enabled direct oversight of releases starting with , insulating the band from external pressures and allowing experimental output without commercial concessions. By retaining creative and financial control, dBpm exemplified a sustainable model for veteran acts navigating industry consolidation, influencing peers toward self-reliance amid declining physical sales. Culturally, Wilco bridged alt-country roots with avant-garde experimentation, elevating indie rock's sophistication and longevity. Frontman Jeff Tweedy's songcraft, drawing from Neil Young and Big Star, fused Americana introspection with sonic collages, inspiring acts like Fleet Foxes and Sufjan Stevens in genre-blending. The band's evolution from 1990s country rock to eclectic indie—exemplified in albums like Yankee Hotel Foxtrot—transcended stylistic confines, positioning Wilco as a torchbearer akin to R.E.M. in American rock narrative. Their enduring output and festivals like Solid Sound have sustained a dedicated following, reinforcing indie ethos against pop ephemerality.

Personnel

Current lineup

The current lineup of Wilco has remained stable since 2005, comprising six core members who have contributed to the band's recordings and live performances across multiple albums and tours. This consistency followed the departures of earlier members like in 2001 and in 2004, allowing for a focused collaborative dynamic centered on Jeff Tweedy's songwriting. Jeff Tweedy serves as the band's leader, handling lead vocals, guitar, and primary songwriting duties; he founded Wilco in 1994 after the dissolution of . , on bass and backing vocals, has been with the group since its inception, providing foundational rhythmic support drawn from his tenure. Drummer joined in 2000, bringing experimental percussion techniques that expanded Wilco's sonic palette on albums like (2002). Guitarist , added in , is known for his improvisational style and influences, enhancing live sets with extended solos and textural depth. Patrick Sansone, also joining in , contributes guitar, keyboards, and harmonies, often layering arrangements in studio and onstage. Keyboardist rounded out the sextet in 2005, focusing on electronic elements and atmospheric swells that support the band's genre-blending approach.
MemberRoleJoin Year
Lead vocals, guitar, songwriting1994
Bass, backing vocals1994
Drums, percussion2000
Guitar2004
Patrick SansoneGuitar, keyboards, vocals2004
Keyboards, electronics2005
This configuration has underpinned Wilco's output through 2022's Cruel Country and ongoing 2025 tours, including the "Sweet and Sour Spring" dates.

Former members and key departures

Wilco's lineup underwent frequent changes during its first decade, with only Jeff Tweedy and John Stirratt remaining from the original 1994 incarnation. Early departures included multi-instrumentalist Max Johnston, who contributed fiddle, banjo, mandolin, and dobro from 1994 to 1996, leaving after the release of Being There due to a perceived diminishment of his role amid the band's shift toward guitar-driven rock and the rising influence of Jay Bennett.
NameInstrument(s)TenureNotes on Departure
Max JohnstonFiddle, banjo, mandolin, dobro1994–1996Left after ; role diminished by Bennett's involvement; later joined .
Bob EganPedal steel, slide guitarMid-1990s–late 1990sDeparted for other projects.
Ken CoomerDrums, percussion1994–2001Replaced during sessions for more experimental style; Tweedy cited need for new rhythmic approach.
Jay BennettGuitar, keyboards, multi-instrumentalist1994–2001Fired amid conflicts with Tweedy over creative control during ; documented in film I Am Trying to Break Your Heart.
Leroy BachGuitar, keyboards, multi-instrumentalistLate 1990s–2004Left amicably in January 2004 to focus on scene and reduce touring; decision his own.
The most significant departures occurred around 2001 during the turbulent production of Yankee Hotel Foxtrot. Drummer Ken Coomer was replaced in early 2001 after Tweedy sought a percussionist better suited to the album's experimental elements, such as Glenn Kotche, who brought unconventional techniques like prepared drumming. Multi-instrumentalist and de facto producer Jay Bennett exited on August 17, 2001, following escalating tensions with Tweedy over song arrangements, mixing decisions, and band leadership; Bennett had been instrumental in Wilco's expansion from alt-country to layered psychedelia on albums like Being There (1996) and Summerteeth (1999), but clashed on the direction of Yankee Hotel Foxtrot, contributing to its reconstructed sound post-departure. Bennett later pursued solo work until his death in 2009. Leroy Bach's 2004 exit marked the stabilization toward the band's long-term lineup, as he departed on his terms after contributing to Yankee Hotel Foxtrot and A Ghost Is Born (2004). These changes reflected Wilco's evolution from roots-oriented rock to avant-garde experimentation, often at the cost of original cohesion.

Timeline of changes

Wilco was formed in 1994 in , , by (vocals, guitar), (bass, backing vocals), (drums), Max Johnston (fiddle, mandolin, banjo, dobro), and (multi-instrumentalist). Early live performances in the mid-1990s featured occasional contributions from guitarist , though he did not appear on studio recordings. In the mid- to late , pedal steel and player Bob Egan joined the band, contributing to recordings and tours during this period. Max Johnston departed around the late , following the release of the Being There in 1996. Bob Egan also left by the late . Leroy Bach joined in the late 1990s as a (guitar, bass, keyboards), participating through the (1999) and (2002) eras. In 2001, amid tensions during the production of , and both departed; Bennett's exit was contentious, later leading to lawsuits over songwriting credits. replaced Coomer on drums that year. Mikael Jorgensen joined in 2002 as a keyboardist and electronic musician, solidifying the band's shift toward experimental elements. left in 2004, after which (lead guitar) and (multi-instrumentalist, backing vocals) joined, completing the lineup that has remained stable since. Tweedy and Stirratt are the only continuous members from the band's .

Discography

Studio albums

Wilco's studio discography comprises thirteen full-length albums, initially issued primarily through major labels before shifting to independent imprints, reflecting the band's evolution from alt-country and toward experimental production techniques, psychedelic elements, and latterly stripped-back acoustic arrangements. Early releases emphasized Jeff Tweedy's songwriting amid band tensions, while later works incorporated electronic textures and multi-instrumentalism by expanded lineups.
Album titleRelease dateLabel
A.M.March 28, 1995Reprise Records
Being ThereOctober 29, 1996Reprise Records
SummerteethMarch 9, 1999Reprise Records
Yankee Hotel FoxtrotApril 23, 2002Nonesuch Records
A Ghost Is BornJune 22, 2004Nonesuch Records
Sky Blue SkyMay 15, 2007Nonesuch Records
Wilco (The Album)June 30, 2009Nonesuch Records
The Whole LoveSeptember 27, 2011dBpm
Star WarsJuly 24, 2015dBpm
SchmilcoSeptember 23, 2016dBpm
Ode to JoySeptember 20, 2019dBpm
Cruel CountryMay 27, 2022dBpm
CousinSeptember 29, 2023dBpm
The production of involved significant turmoil: after recording with engineer Jim O'Rourke, rejected the album and dropped the band in 2001, citing its uncommercial sound; Wilco purchased the masters for approximately $50,000, only for (Reprise's parent) to recoup costs by transferring the release to sister label Nonesuch without additional payment, allowing the band to retain ownership while avoiding financial loss. This episode highlighted major-label risk aversion toward non-conformist indie aesthetics, yet the album achieved commercial success, peaking at No. 13 on the and earning Grammy nominations. Subsequent albums like continued experimental leanings with loop pedals and noise elements, winning the 2005 Grammy for Best Alternative Music Album. By the 2010s, Wilco self-released via dBpm, enabling direct control over lo-fi and folk-leaning records such as and Cruel Country, the latter a 24-track emphasizing raw, unpolished Americana.

Extended plays and live releases

Wilco has issued few extended plays, with their output primarily focused on full-length studio albums. The band's sole prominent EP in recent years, Hot Sun Cool Shroud, consists of six tracks recorded in the sessions following the 2023 album Cousin. It was released digitally on June 28, 2024, via dBpm Records, with physical vinyl and CD editions following on November 29, 2024. The EP features songs such as "Hot Sun," "Livid," "Ice Cream," "Annihilation," "Inside the Bell Bones," and "Say You Love Me," showcasing the band's continued exploration of indie rock textures. Earlier material like the 2003 More Like the Moon appeared as a bonus disc accompanying international editions of Yankee Hotel Foxtrot, containing outtakes and B-sides, though it was not marketed as a standalone EP. For live releases, Wilco's flagship recording is the double-disc Kicking Television: Live in Chicago, captured during performances at the on August 23–24 and October 7, 2005. Issued by on November 15, 2005, it spans 23 tracks drawn from the band's catalog up to , highlighting the expanded lineup including and . In 2025, Wilco expanded their live catalog with streaming-focused compilations: Wilco Live (Orange), a 24-track set of soundboard recordings from tours between 2012 and 2024, released on May 16; and Wilco Live (Blue), featuring 25 live cuts including a December 7, 2024, performance at Moody Theater in , issued on June 20. These releases draw from the band's extensive archives, available via platforms like nugs.net, but represent curated selections rather than full documents.

Notable compilations and collaborations

Alpha Mike Foxtrot: Rare Tracks 1994–2014, Wilco's inaugural rarities compilation, was released on November 18, 2014, via dBpm Records. The four-disc collection comprises 77 tracks, encompassing demos, B-sides, outtakes, live recordings, and covers from 1994 to 2014, with 64 pages of featuring track-by-track annotations by alongside contributions from and . Concurrently, the band issued the single-disc What's Your 20? Essential Tracks 1994–2014, selecting 20 career-spanning highlights as an accessible retrospective. Wilco's most prominent collaborative endeavor involved partnering with to musicalize unpublished lyrics by for the series. The debut album, (1998), blended folk-rock arrangements with Guthrie's words, achieving commercial success on bestseller lists and earning a Grammy nomination for Best Contemporary Folk Album. followed in 2000, incorporating further Guthrie material with expanded instrumentation, while emerged in 2012, completing the trilogy with additional interpretations. These releases revitalized Guthrie's legacy through modern production while showcasing Wilco's versatility in acoustic and electric settings.

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