One of the most engaging performers on the New England folk circuit, Howie Newman combines music, comedy and audience participation to provide a truly unique entertainment experience.

His amusing compositions are up-tempo and catchy, and he keeps things lively with funny between-songs banter and short comedy bits (there is also a smattering of serious songs).

Song topics include television commercials, baseball, cell phones, middle age dating, the weather, intergalactic garbage collection and more. And the material is totally clean, suitable for all ages.

In this episode of our Mid Tenn Listens podcast, I chat with Howie about influences, the newest project, technology and it’s benefits and more.

Listen to the full audio interview below or find it on Apple Music, Google Play Stitcher Radio or the TuneIn app. You can scroll down for a full list of podcast subscription options.

Where are you from and what style of music do you create? (In your own words, not necessarily in marketing terms or by popular genre classifications.)

I’m from Melrose, Mass., which is about 10 miles north of Boston. Although I play acoustic guitar and perform as a solo or duo, I wouldn’t consider myself a folk singer. Not that there’s anything wrong with folk music. I just prefer music that is a bit more lively so I call it folk-rock or country-rock. My duo is called Knock on Wood and my partner plays fiddle and mandolin (see www.howienewman.com/knockonwood for more info). I play guitar and harmonica, do all the lead vocals and write all the songs. For the most part, it’s up-tempo with a country flavor. I always try to inject some humor into the proceedings and strive to get the audience involved. It’s a very interactive type of show with lots of audience participation.

In addition to my songs, we play a lot of classic rock covers, including stuff that you wouldn’t expect from an acoustic duo, like Huey Lewis and the News, Eric Clapton, Steely Dan and The Who.

When I’m in the studio, I like to fill out the songs with piano, drums, bass, clarinet and second guitar, etc., along with the fiddle and mandolin. And lots of backup vocals and harmony. A lot of singer-songwriters feel like their recordings should be similar to what they perform live but I don’t really follow that approach. My theory is the studio is an opportunity to create something special, expand on the song and have some fun. I like lots of solos. If you’re going to hire musicians, why not let them do their thing and see what they can add to the mix?

Most of my original songs are funny or satirical, but I do have some serious moments, especially on my latest CD. I tend to write about personal experiences and things that happen to everyone. There’s a fun side to just about anything if you look hard enough.

I’ve written a bunch of baseball songs and have two CDs, Baseball’s Greatest Hits Volumes 1 and 2. These seem to resonate with a niche market and I sell baseball mp3s all over the world. It’s a small part of my live performances but tends to get a good amount of attention. For more info, see www.howienewman.com/baseball-songs

What led you down this path of music and what motivates you to stay the course?

There are two components to what I do: the actual sound and the approach to songwriting. I’ve always liked the instruments that are used in country music. Twangy electric guitar, fiddle, mandolin, pedal steel, honky tonk piano, etc. So I gravitated toward country-rock and folk-rock bands, like Crosby, Stills, Nash & Young, Loggins and Messina, Poco and the Nitty Gritty Dirt Band. I know I’m going way back for some of your readers. More recently (and recent is a relative term here), I’ve really liked the Jayhawks. So I’ve incorporated that country-rock sound into my studio recordings.