Big Sexy Has Only Blues Inside

Few bands are as authentic as Big Sexy, and even fewer thrive in excellence. Ever since Gary Maccagnone and Alex Goroshko started their international band, they have always aimed higher and have gained notoriety among rock and blues-rock fans. Once again, we had an interview with them—we talked about the band, the new song, the beginnings, the “AI”, and what it means to stay true to their core. Read on and listen to their latest song, “Only Blues Inside“!

Music Authentic: “Only Blues Inside” marks another shift in your sonic approach. How does your working relationship now compare to when you first started writing together, and what’s changed in how you navigate creative disagreements?

Gary: In the beginning, it was basically me, Gary, who was doing all the writing. Alex did the composing on the first album. He made suggestions on some of my lines but he mainly stayed in the background when it came to the lyrics. Today, we pretty much split the duties with the song writing. Come to find out, the young genius is much more than a maestro. He’s a highly polished song writer which is evident in our number one song, Only Blues Inside.

Alex: Our working relationship and process didn’t change too much. The only thing that changed is that we are always looking for ways to improve our production process and the overall quality of the mixes. As a composer, I’m trying to implement new instruments, techniques, and compositional solutions.

Music Authentic: You’re based in Kyiv, creating music while Ukraine remains at war. How does that reality shape what you write—not just lyrically, but in terms of what music can even mean or accomplish when the world outside the studio is unstable?

Alex: To be honest, my home and studio are places that support my emotional and mental health and help me stay productive. I know I can’t stop this war, unfortunately, but I do have the time and the conditions to create something meaningful—something I love and that our fans will hopefully love too. I’m deeply thankful for the opportunity and for the people who helped me be in this place. That support is priceless, and I’m truly grateful.

Gary: Alex is there, obviously, dealing with the drone attacks. Somehow, he maintains an upbeat attitude in all of our conversations. I could never do that. Alex is always creative with his words, but very methodical in how our music is processed. He has a routine that he maintains and he doesn’t cut any corners in order to get the product out. He kind of compartmentalizes the difficulties in his daily life with maintaining a very warm professional style when communicating to everyone involved with his studio.

Music Authentic: More philosophically: does art made during wartime carry different responsibilities than art made in peacetime, or is that a false burden to place on musicians?

Gary: That’s an interesting question. I’m in the states and seem to write in dark themes where Alex is amongst the rubble, and he is writing enchanting love songs. How does one explain it? In my case, I’ve stayed away from politicizing that war in any musical way – I’m focused on more universal themes.

Alex: I think the responsibilities are pretty much the same, but art in wartime faces much harder conditions. And I believe the country should take care of culture and art during the war. As Churchill famously said, “Then what would we be fighting for?”

Music Authentic: Big Sexy regularly works with different vocalists and blends genres in ways most bands avoid. What makes you confident enough to hand your songs to various voices rather than establishing one signature sound? Are there artists who’ve done this successfully that influenced your approach?

Gary: The only band that I know of that sort of mixed styles is Fleetwood Mac, on account of three personal styles of the three songwriter/singers. In their case, they still maintained a signature sound. In our case, I know that Alex talks about always trying to maintain the Big Sexy sound, though, I’m less inclined to follow that path. I like when I hear someone say, did Big Sexy really produce that song? Cause it doesn’t sound like them.

Alex: When we work on a song, there’s always a sense that a particular song works better with either a male or a female vocal, and based on that feeling, we make our decision. Currently, we have two vocalists, Justin and Victoriya, and it mostly depends on the song. We don’t limit ourselves by genre or instruments—we have our own style that we enjoy. It’s always about what works best for the song.

Music Authentic: On that note—mutual respect seems essential when two people share creative control equally. What are the practical mechanisms that keep your partnership functional when you disagree about direction?

Gary: Our relationship is pretty easy. I write something and turn it over to a genius. That’s it. That’s why Big Sexy is successful. I let the maestro work his magic because I recognized early his abilities and his high standards when it came to the finished product. I make suggestions to him about adding a line here or two. Sometimes he uses my ideas and sometimes he doesn’t. His track record speaks for itself.

Alex: We don’t really have situations like that, haha. I trust Gary when it comes to lyrics and stylistic decisions, and Gary trusts me when I make music and production decisions.

Music Authentic: The music industry is drowning in AI-generated content and algorithmically-optimized tracks that prioritize engagement over artistry. As working musicians, how do you view this flood of non-artistic content? Is it a threat, a distraction, or something else entirely?

Gary: AI is here and I have a bunch of tracks on an AI site that I love. They are songs that probably won’t make it to Alex’s studio. AI is great to use to help shape a song but I agree with how you have articulated its shortcomings. However, I have reggae songs on there, jazz, country, folk, and a couple of blues songs I really like. Saying that, there’s nothing like being in the studio and knocking out the real deal with actual musicians who are at the highest level of their craft.

Alex: I think this is just another tool. It’s great that people can now create music using AI. Of course, there should be certain laws when it comes to business—such as monetization, sync placements, and royalties—but in general, this situation is similar to the period when people first gained the ability to have home studios. Big studios still exist. AI might be a threat in some cases, but as a music composer and studio owner, I have to say that you can’t hire an AI drummer or bass player to make a truly great record, or solve certain tasks.

Music Authentic: Related: if real artistry requires greater marketing budgets to cut through the noise, does that create an unsustainable arms race? Should authentic music even try to compete on those terms, or is there another path?

Gary: The great news is that someone like me now has an opportunity to create and produce songs whereas before, it could never happen unless you had a studio or label contact. One had to travel with a band and build a name going from one small venue to another until you had a big enough audience to be discovered. What doesn’t work for many groups, is the limited opportunities for a song to find a larger audience on any of the current platforms. Regardless of what you may spend, the algorithm limits an Indie bands reach. It keeps the carrot right in front of your nose.

Alex: If real artistry requires ever-bigger marketing budgets just to be heard, that does risk an unsustainable arms race where visibility outweighs substance. Authentic music shouldn’t try to compete on those terms alone. A more sustainable path is depth over scale: smaller but deeply engaged audiences, direct relationships, live experience, and storytelling. Marketing still matters, but the goal shifts from buying attention to earning connection.

Music Authentic: When you write, who’s the audience in your head? Are you writing for yourselves, for a specific listener, for Ukraine, or does the intended audience shift song by song?

Alex: I think an artist should be honest in their art, creating primarily for themselves—to express their vision and share it with others. In our case, it always depends on the song. If something makes the song better, we should use it. As artists, we should focus on creating something we love and sharing it with our audience; that is our main goal. I also think that the audience may change a bit from song to song, but in the era of singles, that is completely fine.

Gary: The audience doesn’t shift for me. Outside of a few pieces that I’ve written to impress a girlfriend, Haha, my audience is universal. I write to the general population and try to appeal to their good senses. For Alex, it might be different. Recently, we both created blues songs. We approached the songs from two different styles, two different perspectives. They should be out soon so I’ll let you be the judge as to what differs between our approach to the works.

Music Authentic: Alex, you handle much of the instrumental composition—what chord progressions or harmonic movements do you find yourself returning to, and why? Are there particular emotional textures or vibes you’re consciously trying to capture?

Alex: The approach depends from song to song, but in general, I think of instruments as textures. I enjoy certain timbre qualities, overall sounds, and production techniques. For example, when working on a big rock arrangement, I enjoy using double-tracked electric guitars, a Hammond organ, and big, powerful drums.

Music Authentic: Many Big Sexy songs carry a sense of familiarity even on first listen. Is that intentional, and if so, what creates that quality? Is it structural, melodic, or something in the production approach?

Alex: I think it’s a mix of the things like melodic approach, harmony decisions, production, etc. I always try to achieve a certain sound that I have in mind, but sometimes, on the contrary, I take the risk to experiment and see what works best in a given situation. We don’t do this deliberately; in fact, in each song we try to use something new—whether it’s a timbre, a form, or something else.

Music Authentic: What’s the best thing that’s happened to Big Sexy recently—musical, personal, or otherwise?

Alex: I think the project itself is the best thing that has happened. And the fact that we can continue creating music we love right now is truly amazing. We get really excited when our audience grows, when new songs are released, and when new ideas come up.

Gary: We are close to a million streams so that’s what I would suggest to be the best thing.

Music Authentic: What was the hardest lesson you had to learn while building this project? What did you resist admitting to yourselves before finally accepting it?

Gary: That very few people in your inner circles, from family to friends, gives a fuck about your songs. Haha. You really have to reach out to a broader audience to get feedback. I have a few people that I know that I can bounce stuff off of but it gets to the point that you feel you are bothering them. Plus, in this day and age, most people are not capable of listening to any type of recording for more than :30 seconds. Our fast-paced western culture has diminished musical stimulation to a beat.

Alex: I’d say one of the hardest lessons has been learning to let go of control and trust the process. When you’re deeply involved in every detail of a project, it’s natural to want everything to happen exactly the way you imagine. Early on, I resisted admitting that sometimes you have to accept that not everything will go perfectly—or exactly as planned —and that’s okay. Over time, I realized that some of the most interesting and rewarding moments come from experimentation, collaboration, and even mistakes. Accepting that has not only made the creative process less stressful, but it has also opened the door to new ideas and directions I wouldn’t have discovered otherwise.

Music Authentic: How do you decide when a song needs an outside vocalist versus keeping it instrumental or using voices you’ve worked with before? What drives that choice—the song itself, or the availability of the right voice?

Alex: For me, the decision is always driven by the song itself. I try to listen carefully to what the track is asking for—sometimes it calls for a human voice to bring a certain emotion or perspective, and sometimes it works best as an instrumental. When I do consider outside vocalists, it’s about finding the voice that fits the character and mood of the song. Familiar collaborators are great because we already have a shared language, but if the track needs something new, I’m happy to bring in someone fresh. Ultimately, it’s always about serving the song and making sure the performance enhances what the music is trying to say.

Music Authentic: Looking at your catalog, there’s clear evolution but also consistency. How conscious are you about maintaining a through-line while also pushing into new territory? Do you discuss where Big Sexy “should” go, or does it happen organically?

Gary: In the beginning, I wrote 4 albums worth of material. Once we got about 10 songs in, we started adding some of Alex’s songs in. Then, we did a remix with Mr. X the Hip Hop, and a song of Jerry Saintonge, which I co-authored. In each case, Alex guided the different styles into the Big Sexy fold. Coming up on the production schedule is a song by an up and coming song writer named Josh Storm. Alex and I like to diversify and work with new artists. In every case, the production moves through Alex and as I’ve said before in interviews – I present the dream to Alex and then he brings it to life.

Alex: I’d say it’s a mix of both conscious intention and organic growth. I’m definitely aware of the through-line in Big Sexy’s music—there’s a core sensibility and emotional honesty I want to maintain—but at the same time, I’m always open to exploring new sounds, ideas, and approaches that feel right for each song. Sometimes we discuss the direction of a track or an album, but often the evolution happens naturally through the process of creating. I like to let the music guide us while keeping in mind the essence of what Big Sexy is about: storytelling, authenticity, and connecting with listeners. The balance between consistency and experimentation is part of what keeps the project exciting for both us and the audience.

Music Authentic: Gary, your lyrics drive much of Big Sexy’s emotional core. How has your lyrical approach evolved from early tracks like “River of Shame” to “Only Blues Inside,” and has working with Alex’s compositions changed how you write?

Gary: If you listen to my AI songs, you’ll find 14 songs in the library that allow me to diversify into many musical genres. It’s a great place to experiment and to work on your craft – to find out what works and what doesn’t. From Alex I’ve learned to, at times, limit my words, sculpt them down, don’t try to say too much. Sometimes you have to trust the music to emphasize a moment in the song. I have a song called, Tell Me Their Names, and one called, Scarecrow, that might make to Alex’s production room. There’s another one called, Tricky Situation, that people really like but might not be adaptable to the Big Sexy style. It’s up to Alex. Saying that, let me add that I tend to be inspired to write new songs in large quantities (haha) and Alex is always surprising me with new works. He’s pretty quiet and then he slips in a gem, like, Only Blues Inside. He’s always got something going.

Music Authentic: Recording transatlantic presents obvious challenges—time zones, distance, technology. What are the practical realities of making Big Sexy work across continents, and do those constraints ever accidentally improve the music?

Gary: If it wasn’t for the drone attacks, we could be kicking out a lot more material. Production has slowed greatly. Alex also has other works to produce for other artists so his schedule is packed. Otherwise, on account of technology, the two of us are capable of putting out a lot of work, quality work, without having too many issues. If I was in Ukraine at outside records, Alex would probably boot me out. Haha. It would be like Simon and Garfunkel fighting all the time. Unlike Garfunkel, I like the fact that Alex is in charge of the finished product. I encourage him and I am thankful that his touch is on every one of our songs. He’s a perfectionist and I know he won’t release a work if he feels it’s not worthy.

Alex: Of course, if we had the opportunity to create music together in person, rather than online at a distance, it would provide a new experience and a different sound. But I have to say that working as an online project also has its advantages. We can hire musicians from all over the world to work on our project, and that’s amazing. It creates a unique sound. Often we face delays due to time differences between countries or the schedules of the musicians we collaborate with, but I believe this is not an obstacle to achieving a great result and making music together. The most important thing is to have a goal and move toward it.