Athens death rockers Tears for the Dying take Dolly Parton’s forlorn country hit “Jolene” into darker, gothic territory with their new cover and music video. The song has personal significance for singer and guitarist Adria Stembridge, whose uncle, Chip Young, played the iconic finger-plucked guitar parts on Parton’s original recording.
Flagpole: Can you tell us more about your Uncle Chip and his musical background? Were you two close, and did he inspire you to become a musician at all? How did he land the role of playing for Dolly?
Adria Stembridge: Chip was born in Atlanta, GA, and grew up with seven siblings in a small house near Hapeville (South Atlanta). The Stembridge family owned about an acre of land, a flock of chickens and a barn cat. He began playing guitar as a teenager, eventually meeting and befriending Jerry Reed. Both Jerry and Chip played thumb-picking style. They went on tour in the late ’50s, and after their service, Jerry convinced Chip to move to Nashville. He legally changed his name from Jerry Stembridge to Chip Young around this time.
Chip’s first big success came in 1965 with “Five O’Clock World,” working alongside Allen Reynolds. After that, everyone started hiring him. He eventually met Elvis Presley and became Elvis’ primary session guitarist from 1966–1976. Chip played the main guitar part on “Guitar Man.”
He worked with many Nashville legends, including Charley Pride, George Jones, Willie Nelson, Waylon Jennings and Dolly Parton. In the late ’60s, he built Young ‘Un Sound studio in Murfreesboro, TN, where we’d visit almost yearly for family reunions. The studio was off-limits to us kids unless an adult took us in—and only if we didn’t touch anything.
By the late ’60s, Chip was highly sought after for session and studio work.
When I was just 4, my parents would turn up the radio and hush us when certain songs played, saying, “That’s your Uncle Chip playing!” The iconic finger-picked guitar on Dolly Parton’s “Jolene” was played by none other than Uncle Chip. There are some isolated guitar takes from that session on YouTube— they’re incredible. That part is incredibly tricky to play, and I haven’t seen many players reproduce it faithfully (including myself).
I’m unsure when Chip and Dolly met, but they briefly dated in the early ’70s.
Before his passing in 2015, I was lucky enough to hear him play “Jolene” a couple of times at family reunions. By then, arthritis had made playing harder for him. Ms. Parton attended his funeral, sitting off to the side, but we didn’t chat with her.
In 1975, Chip had another hit with Billy Swan’s “I Can Help,” playing the beautiful guitar part and engineering the session. I had the 7″ single as a kid, and it was played a lot in our house (along with “Jolene”).
Despite his incredible career, he downplayed it around us. To us, he was always just Uncle Chip.
One of my favorite memories is him asking if I wanted to help plow the fields. He’d haul me up on his huge Ford tractor and take me out to disk his cornfield. I loved hearing his stories and honestly regret not learning more about his career as a child. I would have loved to talk with him more about it.
I can’t say Chip directly inspired me to start playing, but the excitement my family showed when hearing him on the radio definitely influenced my journey!
FP: How would you describe your personal attachment or general feelings about the original version of “Jolene”? Would you consider yourself a Dolly fan?
AS: What I love about the original is how textured it is. The intricate guitar picking layers beautifully over the complex lyric of the protagonist pleading with Jolene, a true femme fatale, to stay away from her beloved partner. The song has an energetic, almost frantic feel, and the lyrics perfectly capture that anxiety.
By my teenage years, I started exploring Ms. Parton’s works more and loved her role in 9 to 5. As I’ve grown older and come out as a trans femme back in the ’90s, I’ve deeply appreciated how supportive Dolly is of LGBTQ people. She’s an amazing ally, and I’m proud to say I’m a fan of her life’s work.
When we were brainstorming cover ideas a few years ago, we had fun playing “Enjoy the Silence” and “It’s a Sin” at live shows. On a whim, I asked Josh [Broughton] if he knew how to play “Jolene” on guitar. Josh has played in several country and western bands and is one of the most talented guitarists I’ve met. We ended up taking the song in a new direction more fitting for Tears for the Dying, emphasizing the unsettled, anxious vibes of “Jolene.” After some rehearsals, we developed a version that blended dream pop, post-punk, darkwave, and alternative country. We decided to include it on our next release, In the Shadow of the Midnight Sun, which came out last February.
I made some minor changes to Dolly’s lyrics to give the song a modern, inclusive feel, which was also reflected in the video we shot last fall.
FP: Can you tell us a bit about the filming of the music video? How involved were you in developing the storyline, settings, etc.?
AS: We originally planned to shoot the entire video on a subway/train, but that proved technically challenging. Blake Pipes and Franky Villanueva, the producers, suggested shooting at a bar instead. The filming took longer than expected due to illnesses and the crazy chemical fire in Atlanta last year. Josh and I ended up performing the song in front of a rustic barn in the country. While Josh isn’t in the band, we wanted to acknowledge his creative contributions to the cover.
The video’s story is something many of us can relate to, of having a third person enter the equation and the anxieties that can arise from that. I was adamant about a) making the video reflect the inclusive nature of the modern goth/postpunk scene and b) not ending the video on a sad or self-destructive note. I wanted to convey a positive message about personal growth and letting go of what isn’t meant to be. Years ago, I dealt with similar feelings in Atlanta with an ex, and I’ve learned and grown a lot since then. I hope others find hope in the video as well.
FP: How has the band’s sound or lineup evolved since your earlier releases?
AS: We started in the 2000s as a five-piece, with me primarily singing and writing most of the material. After a hiatus, I reformed the band in 2017 as a solo project, eventually becoming a three-piece with a drum machine. We later used live drums but have since downsized again, returning to a drum machine for simplicity, especially for touring.
I’ve been fortunate to work with many talented players over the years, each bringing their own unique influences to the band. For example, Josh, who was with us from 2021–2023, added a country and western flair that shaped parts of our last record, especially our cover of “Jolene.” Collaborating with creative musicians and blending our styles has been a key part of the band’s evolution.
FP: Who is in the current lineup, and how did you come to work together? Have there been any memorable moments or highlights so far?
AS: Tears is currently made up of myself (guitar, bass, beats, vocals) and Page Dukes (guitar, bass, vocals). Page and I originally met through roller derby, we were briefly on the same team and remained in touch over the years—in part due to Page’s ongoing social justice work. While we’ve only been playing together in the band for about five months, I’ve been impressed by how quickly Page has picked up the material and made it her own. Touring together this past fall has been a treat!
Page Dukes: I actually saw Adria play a solo show in Athens in 2017, and was blown away by her presence. I’ve been a fan ever since, and Tears has been a deep, vital vein keeping me connected and excited about Georgia music. I love how raw and real the songs are, and how they make people dance. Honestly I’m still pinching myself a bit, that I’ve joined one of my favorite bands, and honored that I get to help write the next chapter.
FP: If you could play one dream venue or festival, what would it be and why?
AS: Whether it’s in the cards or not, I’ve always dreamed of performing on the main stage at our own Georgia Theatre. One of my first concerts as a fan was seeing Pylon there, and it left a lasting impression. Over the years, I’ve seen so many incredible shows at GATH, and being on that stage would feel like coming full circle in my musical journey.
FP: What can fans expect in the coming year? Any new music, collaborations, or tours?
AS: Page and I are starting to write for our next record, so we’re planning to take on fewer shows in the coming months to focus on creating and recording. Tears performed 30 shows last year, up and down the east coast. That’s the most I’ve ever played in a year. We’re anticipating making a run out west later this year—but first, new music!
FP: You’ve been part of the Athens music scene for four decades. What advice would you offer to younger musicians or bands who are just starting out?
AS: Take your own path. Don’t feel pressured into writing to what is popular in your favorite genre today. That will change sooner than you imagine, so don’t be pressured to have your songs sound a certain way. Let your inner creative energy drive what the music ends up sounding like. Listen to as much music as you can, from genres outside of what you kinda hope to write in your band. Thinking outside the box will help you find your unique voice. Audiences tend to connect more with bands that are genuine than those heavily influenced by fleeting trends.
Also, consider going to therapy. Whether or not you think you need it, regular counseling can be incredibly helpful for personal growth and maturity. Many musicians turn to music as a form of catharsis… I do too… but therapy can help you navigate challenges, climb out of tough situations and even avoid them altogether. If you’re serious about a long-term career in music, I can’t emphasize enough how beneficial therapy can be.
Like what you just read? Support Flagpole by making a donation today. Every dollar you give helps fund our ongoing mission to provide Athens with quality, independent journalism.
