St. Louis-based songwriter and multi-instrumentalist David Udell has built a storied career spanning decades, from his early days with Wax Theatricks to his experimental work with Delay Tactics. His latest solo album, It’s Worth It, showcases a deeply reflective side of his artistry, bringing themes of love, loss, and the beauty of existence amid the chaos of the modern world.
Reflecting on how It’s Worth It compares to his previous solo effort, Orchids, Udell explains that he often begins an album with an overarching theme. “When I was working on Orchids, I lost three girlfriends in one year, along with a few other people I loved dearly. We put our hearts and souls into living, and it’s gone—just like that,” he says. That sense of loss permeated Orchids, with the only instrumental track, “Orchids in the Snow,” serving as a nostalgic reflection on those absent friends. By contrast, It’s Worth It takes on broader societal issues, exploring “the ignorance, vulgarity, and cruelty we’re forced to live with.” Yet, for Udell, life remains an adventure, made precious by its impermanence. “It really does all come around to love.”
A lifelong recording artist, Udell’s musical journey was shaped by an eclectic mix of influences, from The Beatles to Mahavishnu Orchestra, King Crimson, and early Jethro Tull. “At about 14, we started a band trying to cover these acts, but we quickly began writing our own songs—it was more satisfying,” he recalls. The release of Quadrophenia by The Who proved transformative, inspiring Udell and his bandmate Dominic Schaeffer to write their own rock opera, Webster Hangover, based on their teenage adventures hitchhiking to Webster Groves, Missouri, to see their girlfriends.
Wax Theatricks, the band that grew from those early songwriting experiments, invested every cent they earned into recording at Oliver Sain’s legendary studio. While Udell sought a specific sonic vision he struggled to achieve, his collaboration with Carl Weingarten on Delay Tactics marked a shift. “We recorded in the opposite manner of Wax Theatricks,” he explains. “We started with a small four-track ‘Skully’ and worked within its limitations.” That approach, combined with evolving technology, resulted in recordings that felt more organic and satisfying to Udell’s ears.
Fast forward to today, and David’s home studio allows him to craft music with unprecedented freedom. “I can do almost anything,” he says. Equipped with a portable digital recorder, he captures drum performances and guest contributions on the go. However, having unlimited possibilities also means wrestling with perfectionism. “I can spend years rewriting lyrics to one song,” he admits. “I have to deal with my neurotic process, but at this point in my life, I’m realizing my musical dreams.”
The instrumental diversity on It’s Worth It further demonstrates Udell’s exploratory approach. From guitars and keyboards to theremin and stylophone, each track unfolds organically. “I always start with guitar or piano,” he says. “Sometimes the music suggests what comes next, sometimes the lyrics do. And I like to throw my toys on.” With a theremin dating back to the ’70s and a collection of quirky instruments gifted by his girlfriend Valerie, Udell embraces sonic experimentation. While age has slowed his guitar playing speed, he sees it as a positive shift. “It’s forced me to focus more on melody and arrangement—those have always been the most important elements for me.”
Collaboration played a key role in shaping the album’s final sound. Udell speaks highly of the musicians who contributed, including Carl Weingarten, Walter Whitney, and Margaret Bianchetta. “I think I’m buddies with some of the greats in St. Louis,” he says. “John Higgins blew my mind with his pedal steel, and Monica Reed—she’s a legend—did the vocals on ‘Slow Song.’ Everyone was spectacular.”
Lyrically, Udell walks a fine line between satire and profundity. He describes his creative approach as inspired by “a very dark place that always seems to resolve into hope—or at least seeing the humor in it all.” Writing lyrics, however, remains a grueling process. “I can produce music with absolutely no effort,” he says. “Lyrics, on the other hand, are always a life-changing, desperate, self-examining, introspective, torturous journey.”
Even as Udell’s solo work leans more toward traditional songwriting, his experimental roots in Delay Tactics continue to influence him. “I often noodle on a synthesizer or guitar effects pedal, and that leads to something,” he says. “But mostly, I start by picking up my acoustic guitar and seeing where it takes me.”
One of Udell’s guiding principles in production is ensuring that no two songs sound alike. “In an interview, Paul McCartney was asked, ‘What makes ‘Sgt. Pepper‘ psychedelic?’ He said, ‘No two songs were the same,’” Udell notes. Balancing spontaneity with the technical aspects of recording is a challenge he relishes. “Every time I start a session, I hear it for the first time, making mental notes of what it needs. Then I put the labor into making it happen. The next morning, I start the process over again, trying to recapture that initial perception.”
Looking back on his career, Udell remains open to new influences. “Everyone inspires me—painters, filmmakers, live artists,” he says. His current musical fascinations range from Wasis Diop to Radiohead, The Decemberists, and Sufjan Stevens. “My goal is to make music I really want to listen to.”
Of all the tracks on It’s Worth It, the title song holds particular significance. “I know there are people out there I don’t even know that I have a lot in common with—especially a respect for reason and an appreciation for how fragile and temporary this all is,” he reflects. “I like my guitar work on it, too.”
As for what’s next, David Udell continues to write and record, with his next project, Theater of the Mind, already taking shape. The album explores the idea of “separate realities we all seem to live in, fueled mostly by disinformation.” While live performances are rare, he occasionally plays at The Venice Cafe with his band, The Very Idea. “I’d love to be in a band again,” he admits. “Delay Tactics is still recording, but we live all over the country. We work when we can.”
Through it all, Udell remains dedicated to his craft, waking up at 3:30 a.m. daily to work on music before heading to his physically demanding job. “Pain, doubt, pain, doubt, pain—then euphoria,” he says of the process. “That’s how it goes.” With It’s Worth It, David has once again proven that, despite the challenges, the pursuit of art is indeed worth it.
It’s Worth It is available on Bandcamp.
