By Todd Sterling

Dave Berg may come from a rock background, but the Oregon native has the country thing down cold. Berg, who was named NSAI Songwriter of The Year in 2007, injects a healthy dose of realism in his songwriting. Whether he’s writing for himself or for someone else, the singer/songwriter draws inspiration from real life situations.

Berg has enjoyed a good amount of success lately, his songs have appeared on recent albums by Rodney Atkins, Keith Urban, and Chris Cagle, among others. Berg was also responsible for Emerson Drive’s chart topper "Moments," an emotional number that struck a nerve with millions of listeners. Dave recently took time out of his busy schedule to answer a few questions for Songwriterpro.com.

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How would you describe your writing style?

Pretty laid back I guess. I feel fortunate because I'm finally trusting my instincts. These days I'm just having fun and really into making songs feel good. If it doesn't feel good and have that melody and groove that pulls you in, I don't think anybody really cares what you have to say, or how good you say it for that matter.

Lyrically, I simply strive to hit on something honest. Whether it's a serious ballad or a fun up-tempo, for me it has to come from some real place or I just can't get into it. I used to try and copy what's on the radio and write stuff that I thought sounded like hits, even though it didn't resonate with me personally. I quickly learned that didn't work for me, both professionally and personally.

Where do you draw inspiration from?

Anywhere I can. Movies, books, conversations. Anything that gets me out of my element and breaks up my usual routine never hurts, either. And I just try to pay attention to my life as I'm living it--(which is) easier said than done. I know I must drive my friends crazy the way I'm constantly punching song ideas into my phone. Must be hell dating or being married to an obsessed songwriter.

What is a typical writing session like for Dave Berg?

A mid morning start, a good coffee buzz, and hopefully a great idea. I'm lucky because most of my co-writers are also good friends. We'll just hang out and throw stuff around til something sticks. We may write all day or hit a wall and agree to reconvene. There's no set strategy. I rarely write a song in a day so I like to come back and look at things fresh.

I always feel more creative at night too, so I may work on something in the evening that I started with my co-writer that day. I'm a freaking vampire, so I've never really fit into this being creative during business hours thing. I love tweaking and chasing down a great idea and making sure we don't sell it short, and sometimes that happens at two in the morning.

You come from a rock background, how has that affected the way you write country songs?

Ultimately, I think it has been a blessing. Rock music has such a freedom musically and lyrically that isn't always there in country. So I think I just naturally tend to push the boundaries a little when I'm writing country. And I think strangely enough this has worked to my benefit because I'll write what I think is a stone cold country song, and my publisher will say, "well that's really different!" I also think because country music today is so diverse -- having rock and pop influences all over it -- you get to pull out that old rock riff and find a home for it.

When you write a song, do you ever write with a particular artist in mind?

Never. Doesn't work for me. I just try and write a great song and leave it at that. When I'm lucky enough to have somebody record one of my songs, I'm usually surprised at what artist cut it. I'm usually thinking, "huh? I wouldn't have thought of that."

What is your take on the art vs. commerce debate; how can a songwriter feed both sides?

Great question, and one I've had to somewhat answer for myself to find my way in this town. In my own situation I've come to realize that it's possible to feed both sides at once. I've been pretty lucky in that a lot of the songs I've had recorded are ones that I've had a personal connection with. 

 

That's not to say there aren't going to be songs that I just have to write, (fully knowing they will get recorded around the time that hell freezes over). But often I've found that when I write a song that is evoking something powerful in me, it often has a universal appeal. So I think you can find that rare place where art and commerce are one in the same. Or maybe I'm just dreaming, I don't know.

Who is your all-time favorite songwriter, and how has his or her writing influenced your own?

It changes: Springsteen, Dylan, Petty, Patty Griffin, Jackson Browne, Carol King, Rodney Crowell, Ben Folds, John Lennon, etc.... They've all had an influence on me. I love how Springsteen can paint desperation with words. I love how Dylan has such a poetic slant on things. I love how Ben Folds can make you laugh out loud with one line and break your heart in the next. But If I HAD TO pick one, it might be Tom Petty. I love how his tunes are so simple and so timeless. You just don't hear many people say, "Tom Petty sucks!"

"If You’re Going Through Hell," which was a huge hit for Rodney Atkins, is a powerful number. What was the inspiration behind the song?

A Winston Churchill quote. My co-writers (Sam and Annie Tate) and I were actually trying a little experiment. We tried to make it feel as good as we could first and foremost. I tried this kind've Celtic guitar riff over a straight kick on a drum machine and then started singing and phrasing like Dylan would. Then we just rolled with it and tried to write some lyrics with a little meat on the bones. It was really fun and we liked the song a lot, but we had no idea it would be that big of a hit. Rodney just owned that song, and of course his voice made it country.

What advice would you give someone who wants to make songwriting a career?

Want it, and want it bad. Write, write, write, and then write some more. And learn the craft of it inside and out. Once you do, then you can break some rules once in a while. Then get yourself to a place wherever songwriting is happening as a business. Learn from the best and absorb yourself in it. And be honest with yourself. If you want to do it for a living, you'd better love it and not be in it for the money. I think you have to do it because you can't not do it. If you're talented, patient, thick skinned and persistent, and doing it because you love songwriting, the money will often follow.