Sterling Miller Drops “Clockwork” and Connects With Us to Talk Soul, Studio Life, and the Fire Behind the Groove
- STAFF
- Jul 9, 2025
- 10 min read
By: Staff
“Clockwork” is Sterling Miller uncaged—razor-sharp, rhythm-heavy, and swaggering with stories that hit like a sucker punch in a silk glove.
Sterling Miller unleashes his latest single, “Clockwork,” and it’s the kind of track that makes you stop what you’re doing and feel something. Gritty, groove-soaked, and unapologetically human, the song pulses with a tension that’s all too relatable.
But there’s more going on here than just rhythm and soul. Behind the fire is an artist who’s building something bigger, a sound, a story, and a studio that all speak to where he’s been and where he’s going. We caught up with Sterling to talk about his creative process, unexpected inspirations, and the burning urgency behind his upcoming album Smoking Section.
Read on for a deep dive into the mind behind the music.
Here’s how it went:
Begin Interview:
Hello, Sterling Miller, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. For the fans meeting you for the first time, is Sterling Miller your given name or a stage name? What inspired you to choose that for your artist persona?
A. Sterling is actually my middle name. It’s a family name passed down from my great-grandfather on my dads side. He went by S.B., but his first name was Sterling. I felt Sterling resonates more with my musical style. I also noticed there weren’t any other “Sterling Miller’s” on streaming services and felt it would be easier for listeners to find my music.
Q. You’ve described “Clockwork” as “part frustration, part fuel.” What moments in your day-to-day life most embody that duality, and how do those moments make their way into your songwriting?
A. Like many musicians, I still have a day job to help pay my bills and take care of my family. I’m also a father and a husband. These are all responsibilities I’m extremely proud of, but it doesn’t come without its moments of exhaustion. At times, it can be tiresome and I’m squeezing every second of every day for everything it’s worth. Trying to write a song or capture the muse when it shows up, while a three year old is running around has been a learning curve, but I love every bit of it.
Q. We loved the line “I could have a pocket full of matches, but all I ever do is burn time.” That literally made us go, “Okay — we love this guy!” Is that kind of thought-provoking, poetic one-liner your usual style of writing, or did this song just bring that side out more?
A. Thank you for saying that! I’ve always enjoyed those unique one-liners in a song that grab you as a listener. It’s not always the easiest thing to do for me, but I try to squeeze them in if they’re worthy. I want the listeners to be able to connect with the lyrics, but also have moments where maybe they don’t catch it on the first listen. I love listening to a song and finding a new line or two with each listen.
Q. That bassline is so damn funky — it completely captivated us. Was the bass the starting point for “Clockwork,” or did the groove evolve from somewhere else during the writing or production process?
A. Man, that was actually a really cool moment during the recording process. My good friend and amazing bassist, Antjuan Johnson, and I took a trip to the mountains in North Carolina to work on demos for this album. Clockwork was one that we ended up not having time to get a demo for, so I made a “worktape” voice-memo on my phone for the band to reference before we went into the studio. All they had to go off of was me singing with my acoustic guitar. After the first take during recording, I immediately knew this was going to be a single because of that bass line. It’s just so nasty and I love that about it! I have to thank Antjuan for that one. He’s amazing.
Q. We love Nashville. It’s such a legendary music town. What’s on your bucket list of venues to play there? And on the flip side, is there a lesser-known or unexpected spot you absolutely love performing in — maybe one of those alley-only-access joints or hidden gems fans wouldn’t expect, but where the vibe just hits right?
A. I’ve had the pleasure of playing some really neat and unique venues in town with my band, Highway Natives. Venues like Basement East, The Bluebird, 3rd and Lindsley. One that I’m after, and I know it’s not just on my bucket list, but probably everyone in town, is the Ryman auditorium. I’ve seen shows there, and it’s just such an incredible venue. The sound doesn’t get much better.
One smaller venue in town that is a real treat to play is the Basement Easts sister venue, The Basement. Or as most locals call it, the “OG” Basement. It’s about a 100-150cap room. The sound is great, the staff is great. Just a great spot to really get intimate with the audience.
Q. Southern Echoes Studio plays a major role in your creative process. It’s not just a workspace, but something you built from the ground up. How has building your own studio shaped the sound and soul of your upcoming album Smoking Section?
A. Having my own space to explore new sounds and not feel pressured by a time limit has been really nice. Southern Echoes has only been open to the public now for about a year, but I’ve recorded a number of projects for other bands and artists here, so that’s given me a better understanding of recording in this space and what sounds I can achieve. The space honestly sounds amazing for what it is. It’s a 24x24 pole barn, converted into a studio. I got really lucky. One of my favorite things about recording my album here is I know it’s not going to sound exactly like anywhere else. It’s original. I was able to really take my time, think about what sound I wanted to go for, and dial it in.
Q. What’s the most hilarious story that ever happened to you in the studio that you’ve been dying to share — no names though!
A. Oh man. Too many to just pick one, but I’ll share a story from the making of Highway Natives “West of The Blindside” album. There’s a song on that record called “When I Drink Whiskey”. We wanted to mimic the sound of being in a bar. Patrons drinking, cheering, glasses clanging, etc. Several of us got in the live room with glass cups and just started acting belligerent. Screaming nonsense. Then at the very end, a few of us simultaneously said “where we going next!?” Which was a running joke in the band at the time. We always used to say that during a night out around town. It was completely unrehearsed and just a moment that happened. We laughed for a while during the listen back after that one.
Q. “Clockwork” paints a vivid picture of adulthood’s relentlessness: responsibility, pressure, fatigue. In what ways do you think music helps people carry that weight, and how do you see your role in that as a songwriter?
A. Music is meant to make you feel something. Whether it be joy, sadness, longing for something or someone, etc. It can bring you to tears, or amp up the atmosphere in any given setting. My main goal as a songwriter is to make the listener feel something. I want my songs to help people get through their toughest times, or maybe help create a vibe for their backyard bbq.
Q. With “Clockwork” being the first glimpse of Smoking Section, what kind of stories or emotional landscapes are you looking to explore across the rest of the album?
A. When I started pondering about what I wanted this album to sound like, I really aimed for creating an atmosphere. Even if someone listens to just one song, I want them to say or think “man, this is a vibe.”
Once the album title was solidified, I had the idea to treat it almost like a concept album. I thought to myself, what if Smoking Section is the name of this dim light, smokey, small hole in the wall music venue somewhere like New York City or Detroit back in the 70’s. A place where all the slick musicians in town go to hang, share stories, and support each other. So with that, the album is going to take the listener to this place and it will be as if we’re the house band for the evening playing the album in entirety. It’s got a little bit of funk, soul, some storytelling, some feel good, and a whole lot of vibe.
Q. Funk and soul often speak to survival, resilience, and joy in struggle. How intentional are you about infusing those themes into your sound, and what do you hope listeners walk away with after hearing “Clockwork”?
A. This album was very intentional when it comes to the sounds. The idea as a whole came from me missing my home in Florida. I would put on JJ Grey & Mofro and it would just capture the feeling I would have sitting on the dock of the Wakulla river. Their music then led me down a Bill Withers rabbit hole. I couldn’t get enough of his 70’s albums. I had them on repeat daily for weeks! I began studying the recording process that went into the Wither’s records. What mics they were using, the setup, really just the entire process. I became obsessed. So I really just hope those inspirations translate through on this album. I want people to groove.
Q. Your vocals were made for this. Did you feel like this genre found you, or did you seek it out from an early age? When did you first discover your voice, and what moment flipped the switch from singing in the mirror to stepping into a professional recording setting?
A. Thank you for saying that! This style actually had me a little timid in the beginning. It’s different from my past albums where I was leaning more towards a country sound. I was super nervous that I wouldn’t be able to pull it off, but I made the decision to let all the negative thoughts go and just roll with it. After spending some personal time with these recordings, I feel like I’ve finally found the sound I’ve been after. I would go as far as to say that this is the music I’m meant to be making. It’s authentically who I am and I feel I really found my voice during this one. It’s only the beginning. I’m really excited to lean into it more with confidence.
Q. If someone asked you to describe “Clockwork” in a way that would intrigue them and make them need to hit play, what would you say?
A. “Clockwork” is like if Southern soul and swampy funk took a late-night drive through the anxiety of modern life. It’s gritty, groovy, and restless—about that nagging pressure to keep grinding, even when you're running on empty. If you’ve ever felt like you’re stuck in a loop but can’t afford to stop, this one’s for you.
Q. Do you have a favorite song from your early years — one by a band or artist you grew up listening to — that still hits home today? A song you'd love to cover in the studio because it still feels deeply connected to who you are now?
A. “Southern Accents” by Tom Petty & The Heartbreakers. Hands down. They’re fellow Floridians, and Petty really nailed it with this one. It’s such a beautiful message with an almost haunting melody. Anytime I hear that line, “think I might go work Orlando, if them orange groves don’t freeze”, it really grabs me when I’m home sick or having thoughts of moving back home to Florida. I know there’s always an opportunity waiting for me and I could happily live out the rest of my life there.
Q. Outside of music, who or what has had the biggest influence on your personal growth or your artistic point of view?
A. I think where I’m from has really done it all for me. Between the swamps, rivers, and country landscape, to the family and friends I grew up with. They all helped shape who I am and what my music is about in one way or another. I’ve been in Tennessee for 8 years now and I’m starting to appreciate where I’m from more. Growing up, I didn’t really realize how great I had it being so close to the woods and waters of the Florida panhandle. I’ve had plenty of time to experience a new place, but there’s just something about Wakulla, Florida that continues to pull at me.
Q. What do you want people to remember most about you after hearing “Clockwork” and reading this interview?
A. I really want people to know that making music and being a songwriter for me, isn’t about fame or money. It’s not about how many social media followers I have, or the number of streams I can achieve. This is something I just have to do. It’s who I am. I’m a storyteller. One of my favorite feelings in the world is writing a new song, then hearing it come together in the studio. Starting with a blank sheet of paper and creating something new. I will do this for the rest of my life, no matter how big or small the stages get. I hope that comes through in my music and people can connect to who I am.
Q. We can't thank you enough for sharing these intimate details! So, what’s next? Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We'd love to be the first to share the news!
A. Thank you so much for having me! This has really been a lot of fun. As of right now, I’m focused on getting this album out into the world so people can hear it. “Clockwork” has a music video that I will be releasing soon, so be on the lookout for that!
I plan to do some local Nashville shows and possibly an album release party in the near future. I’ve been producing some really great artists at Southern Echoes lately and I look forward to them sharing their songs with the world, as well.
Sterling Miller, thank you so much! We appreciate you taking the time to talk to us.
End Interview
We’re happy to have shared Sterling Miller’s exciting journey with you and uncovered such inspiring insights about their creative process.
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