John Inghram, born and raised in Charleston, West Virginia, developed a deep appreciation for the region's rich musical heritage from an early age. His maternal family were church musicians, which introduced him to a variety of genres, including bluegrass, country, gospel, and old-time music. However, it is the present that captivates Inghram's creative spirit. His self-titled debut album, John Inghram, marks his transition from an accomplished bass player to a frontman, featuring a selection of 60's and 70's psychedelic rock tunes. This album captures contemporary experiences infused with vintage sounds, inviting listeners to perceive time as a cyclical experience that balances nostalgia with innovation.

At nineteen, Inghram relocated to New York City, where he immersed himself in jazz, rock, blues, funk, and Latin music at the Collective School of Music. After studying at the University of Akron, he joined jazz pianist Bob Thompson's band and began performing as a substitute for the house band of NPR’s Mountain Stage, which broadcasts live from his hometown of Charleston. Inghram now serves as an assistant producer for the show while building a distinguished career as a bassist, collaborating with notable artists such as Chuck Prophet, Vince Herman (Leftover Salmon), Joshua Hedley, Catherine Russell (Steely Dan, Bowie), Jane Monheit, Larry Coryell, and Janis Ian. He reflects on his career, stating, "My whole career has been about serving other people and other people’s music. And that is beautiful. But there was some piece that I felt was missing as a creative. I needed to serve my own original music with the creation of this album."

Inghram's relationship with the past is complex. He candidly shares, “Like a lot of my fellow musicians, I spent much of my 20’s partying and generally just made a lot of poor life choices. A big part of making this album has been deciding that it’s not too late. All I’ve got is the now and I’m going for it.” The album opens with the track “Palisades,” where he expresses his intention to focus on the present: “I don’t want to look back, with the cards laying on the table that's why/I don’t want to go back in time/ I don’t want to look into the future if it’s not stable, that's why /I think the present tense is fine.”

Transitioning into the role of bandleader presents its own challenges. In the introspective song “Underdog,” Inghram confronts his struggles while asserting his determination: “set to lose right from the start/ what I lack in wins I’ve gained in heart/ once in a while I’ll shout at the gods/ for just enough strength to try and test the odds.”

The influence of 70's folk-rock is prominent throughout the album, showcased in a mellow rendition of John Hartford’s “Back in the Goodle Days” featuring bluegrass legend Tim O’Brien, as well as a nod to Big Star in the upbeat track “Same Old Game.” Inghram notes, “As a bass player, I’m naturally just a huge fan of many different musical styles. I have my jazz personality, my bluegrass personality, and my jam band Fletcher’s Grove. But I’m also a huge rock fan, and I think that’s the element that has been missing for me as a creator and is emerging now because when I do write my own material, I really find myself leaning in that direction.”

Recorded between 2020 and 2021 in two different studios, John Inghram was engineered by Bud Carroll and Justin Francis, with mixing and mastering by Francis. The album features contributions from Carroll and Adam Meisterhans on guitars, Randy Gilkey and Micah Hulscher on keys, and Sam Wiseman on drums.

With a wealth of musical knowledge and experience, Inghram carves out his distinctive artistic voice on his debut record. He invites listeners to embrace an existential yet joyful perspective, a refreshing approach amid the uncertainty of recent years. “Now that I have a beautiful family, and life is better than I ever thought it could be,” he shares, “I just want to make use of this moment and make sure I give everything I have to offer.”