Pop-Culturalist.com

Adam Roberts made his highly talked-about Broadway debut in Spider-Man: Turn Off the Dark followed by landing a role in the Tony Award-winning revival of Pippin. He’s shared his gift with audiences around the country in touring productions of Dirty Dancing, Hello, Dolly!, and most recently, the Tony Award-nominated revival of Miss Saigon.

In addition to his work on the stage, Adam is also sharing another side of his artistry as a singer-songwriter with the release of singles like “Glue,” “Undercover Romance,” and “Length of My Love.” Pop Culturalist caught up with this multifaceted talent to learn more about him and his dynamic career.

PC: How did you discover your passion for the arts?
Adam: I was born into it. I have a very unorthodox family—they’re all kooky, crazy musicians in their own right. My dad plays guitar and is a crooner singer. We’re all from the South, so he’s very much influenced by country music. His father is a musician and was in the Steel Guitar Hall of Fame, so it’s been passed down from generation to generation and I inherited it.

As a young kid, I was completely infatuated with the arts. My dad worked at a variety show and I would go with him to work. I memorized all the lines, all the comedy sketches, the choreography, and all the harmonies. It was never a question of “What am I going to be when I grow up?” It was always very evident. It was a self-fulfilling process.

PC: Who or what has had the biggest influence on your career?
Adam: Definitely my family. My dad taught me my chops at a young age. I worked at this variety show called The Carolina Opry. I started working there when I was ten years old and I worked there for eleven years. I always say that I got my training wheels there. I’m from Myrtle Beach and this sounds hokey, but it’s a big two thousand seat theater and there were some top-notch musicians, singers, and dancers from around the world. The cool thing about it was you could go there, and you could raise a family there; you had the job as long as you wanted, so it was alluring to a lot of people.

As far as my dance career, there was a guy named Bryan Beaman who I worked with. He really took the time out and saw the potential in me. He was like, “Hey. I can see that you’ve caught this performing bug. Let me help you cultivate it.” He worked with me on my technique and started to include me in the dance numbers in the show. So, I started out as a singer, but he started plugging me into the choreography and the show. Then, I started learning ballroom and River Dance at, like, twelve.

It was the opposite of formal dance training in a studio; it was on-the-job training. Then, of course, when I was sixteen, I went to a performing arts high school. That’s where I really started zeroing in and honing my skills, working on ballet, and more of the fundamentals. I’d say a bunch of the performers there really took the time out to give me a leg up on everything.

PC: What’s one thing that you know now that you wish you knew when you started your career?
Adam: Not to compare yourself to others, because it’s a slippery slope. It’s like, “Oh. I don’t have exactly what this person has to offer,” when really, it’s like, “No. You got to do what you do. You got to work with what you got.” I wish I could tell myself not to get so hung up on trying to be like other people and to be myself and let that shine through, especially in New York City, when you’re auditioning. You have to tell yourself, “No, I’m not going to be a carbon copy of the person that just went into the audition room before me. I have my own brand of excellence. Take it or leave it.” Not that there’s not room for growth—that’s a biggie. It really held me back for a long time. I always felt subpar and I let that deter me rather than give me the determination to keep working.

PC: Tell us about “Length of My Love” and the inspiration behind the track.
Adam: I have three singles that I’ve recorded and released. I feel like every singer-songwriter sets out to write a breakout song—we’ve all been there—so, this one’s that. It was born out of heartache. The whole tagline is, “The pain doesn’t die. You make room for it.” How does that manifest? How do you carry on after that without letting it bog you down? You need to find an outlet for it. You have to re-channel it in a different way. After the destruction, how do you pick up the pieces and where do you go from there?

PC: Of those singles, if you had to pick one that best encompasses you as an artist, which would it be and why?
Adam: I would say “Glue”, which is the first one I realized. It’s hopeful. It asks the question, “Can I allow myself to be vulnerable and give love a chance rather than self-sabotage?” which is the story of my life sometimes. I get in my own way and I talk myself out of things. I overanalyze. So, from a philosophical standpoint, there’s that. Musically, I love music that’s very dynamic, exciting, grows, and soars. I love music that takes you on a journey sonically, so with that song, I really wanted to create a mood. It starts off very haunting and then the drums come in, the strings come in, and it sweeps you away and takes you on this ride. At the end, it’s like you’re jumping off a cliff.

Also, not everything you write is brilliant. So, of all the songs, I’m like, “I think this one is the most eloquent, or the most palatable, or the most appropriate that would lend itself to orchestrations.” That would translate into a studio-style song, versus me just meandering on my guitar. So, lots of different factors.

PC: What is the process like deciding which singles you’ll release?
Adam: That’s a good question. “Glue” spoke to me the loudest of all the songs that I’ve written. That was the clear choice for me. I also like to be well-rounded; I don’t want it to be all sappy love ballads. You want a nice variety pack. It’s sort of about where I am in my life and what songs are the most meaningful to me, and what I think will resonate with the most for people.

Also, not everything you write is brilliant. So, of all the songs, I’m like, “I think this one is the most eloquent, or the most palatable, or the most appropriate that would lend itself to orchestrations.” That would translate into a studio-style song, versus me just meandering on my guitar. So, lots of different factors.

PC: You shared a really honest post on Instagram about headlining your first solo show and overcoming fears and anxiety. Can you talk about that experience and what you took away from it?
Adam: Sure. Yeah, I’ve been riddled with crippling stage fright and anxiety my whole life. A lot of it stems from, you know, not being good enough and just telling myself lots of terrible things over the years. Over the years, I’ve had to rewire my brain and retrain myself to recall affirmations, rather than put myself down. I mean, let me tell you, that morning I literally was pacing around my apartment like a caged lion. I was so scared, because I was like, “Who do I think I am? Like, what if this music’s terrible? What if I get up there and I can’t endure? What if my voice croaks? What if I just choke?” I was almost hyperventilating. Then, I was like, “Okay, well this is where all of those self-help books and the Oprah podcast comes into play.” This is where you put it into practice and center yourself. My body was reacting as if I was going to die. I had to talk myself off a cliff and I did.

I try to do one scary thing a day, and that was it! [laughs] You feel so naked up there in front of everyone. But, I got up there and I was like, “Whoa. This room is full of familiar faces that love and support me. What’s the big deal? Get over yourself. This is what you’re meant to do.” So, I had to get out of my own head, but it was scary.

Every day, I have to ward off those nasty, pesky thoughts, because they never completely go away. I don’t know if it has to do with growing up in a world as a gay man, you’re constantly trying to change who you are to be part of someone else’s agenda. You’re repressing so much, and you don’t look it square in the eyes until you do as an adult. Then, you’re like, “I have a lot to unpack.” It’s a constant battle to stay ahead of that and not letting it take you under.

Pop Culturalist Speed Round

PC: A band or artist that fans would be surprised to learn is on your playlist?
Adam: Tori Amos is hands down my favorite artist of all time. In college, she got me through life. Half of the time I’m like, “Girl, what are you talking about?” but I think she’s a genius and so underrated. She’s a brilliant musician, songstress. Her music is raw and it permeates like no other. There’s something that really clicks with me. I think she was a classical musician first. I learned a lot about song composition through her. It’s like one of those guilty pleasures where I’m at the gym doing curls listening to “Silent All These Years” and I’m like, “What am I doing?” [laughs]

PC: First album you bought?
Adam: Celine Dion’s Falling into You. Unabashedly.

PC: First concert you attended?
Adam: Third Eye Blind at the House of Blues in Myrtle Beach where I grew up.

PC: An album that changed your life and why?
Adam: That’s a really good question. Wow, this is hard. I’ve already said Tori Amos, so I’ll put her aside. I love two completely different things, so Joni Mitchell’s Blue. It’s unbelievable. It’s a classic. It’s in a league of its own. Then, on a completely different note, Radiohead. Every song on their OK Computer album launches me into another dimension.

PC: A venue on your bucket list to perform at?
Adam: Let’s go big or go home, right? Let’s say Carnegie hall. I’ve actually never been to Carnegie Hall.

PC: A must-have on the road?
Adam: I immediately have to locate the best coffee shop in town. And another must-have, I’m actually holding it right now, is a scalp massager.

To keep up with Adam, follow him on Instagram and Spotify.