Artist:Cruz Contreras Hometown: Bridgman, Michigan Song: “Let Somebody Love You” Album:Cosmico Release Date: September 15, 2023 Label: Cosmico Records
In Their Words: “‘Let Somebody Love You’ is a hypnotic groove jam with a simple message. It’s time to let somebody love you. Speaking to Western themes and adventure, broken dreams, moonshine-inspired journeys, and psychedelic realizations, ‘Let Somebody Love You’ delivers a driving verse and grand chorus that encourages the listener to overcome their fears, whatever they may be. The syncopated guitar riff creates the transcendental meditation that takes the listener to another plane where rock ‘n’ roll and grooves make all things right.” – Cruz Contreras
Artist:Brewflies Hometown: New York City Song: “Mercy Now” (Mary Gauthier Cover) Album:Rain Down Mercy Release Date: August 8, 2023
In Their Words: “Early on in the process of choosing songs for our album Rain Down Mercy, we were struck by the humanity of Mary Gauthier’s ‘Mercy Now.’ This was at the height of COVID isolation, the madness of January 6, the desperation and outpouring of grief, outrage, and appeals for justice spearheaded by the Black Lives Matter movement. All the attendant divisiveness surrounding the wider issues were bearing down: Climate change, authoritarian populism, mass killings, and global conflict.
“Gauthier’s song was written nearly 20 years ago, but its ever-widening appeal for understanding and mercy for stubbornly self-defeating human behavior — while at the same time delivering admonishment and warning — spoke to the heart of what we thought we wanted to achieve in the crafting of the album. (It’s there in the album’s title.) We wanted a fairly simple and direct acoustic approach in our arrangement, using Lisa Gutkin’s fiddle, Dan Hickey’s sensitive percussion, Prof. Louie’s lightly expressive piano and accordion, and Kirsti Gholson’s background vocal arrangement as highlights.” – Larry Brittain
If one were to chart North Carolina string band Mipso’s career over the past decade on a line graph, you’d see a steadily rising, ever-growing musical output and an ever-burgeoning audience for their brand of grounded-yet-dreamy folk pop. This journey through roots music has paralleled their peers – bands and artists like Watchhouse, Billy Strings, Molly Tuttle, and Della Mae – but they’ve outlasted more than a few similar ensembles that have fallen to the wayside over those years. Strikingly, even while enjoying near constant growth since they coalesced in 2012, the band has eschewed higher echelons of the Americana star-scape, choosing instead to scale their business and their art intentionally and deliberately.
Theirs is a sound and musical aesthetic ready for the “big time” – they’ve garnered hundreds of millions of streams – but Mipso (made up of Wood Robinson, Libby Rodenbough, Jacob Sharp, and Joseph Terrell) seem very happy with where they’ve landed since their consecutive popular and critically-acclaimed releases Coming Down the Mountain (2017), Edges Run (2018), and 2020’s Mipso. Each album saw the group gain traction, gain fans, and gain notoriety. Still, they aren’t defined by their ambitions; and their ambitions don’t seem to ever be conflated with conquering anything. Instead, this is a band building something.
Mipso’s sixth studio album, Book of Fools (due out August 25), certainly speaks to this phenomenon. The group feels perfectly at home with one another; they’re a chosen-family band – together, they’ve been through their college days, their road-dogging era, their “I think this might not just be a pipe dream…” successes, landing with a crystalline point of view that’s expansive, complicated, and rich, but doesn’t feel like it has anything to prove. There’s no desperation here – to claw back pre-COVID reality, to tour arenas, to brand and merchandise their way to an empire. As songwriter, guitarist, and singer Joseph Terrell puts it in a press release, “Book of Fools feels more relaxed, more confident, more us – like we’re wearing our favorite clothes and telling our favorite story and it feels exciting again.”
“The Numbers,” the second single from Book of Fools, winks to this measured, black-and-white view of their own jobs and careers – versus “real jobs,” let’s say – and the economic access that’s never been a hallmark of either roots music or the generation to which Mipso’s members belong. By prioritizing building art and community over bottom line, Mipso demonstrate a class consciousness that places themselves and their music in alignment with workers, laborers, and the every-person, making the message behind “The Numbers” palpably genuine.
“I looked around at this cruel place where we live,” Libby Rodenbough explained via press release, describing the U.S. and the stock market, “And I felt forlorn that the NASDAQ offers anybody any kind of comfort. How do I know things are bad? Because I feel it, and I see it.”
Who are “The Numbers” supposed to comfort? And what exactly are they supposed to indicate? Mipso utilize their post-modern string band trappings – in a similar fashion to Nickel Creek or Crooked Still – to explore these ideas in ways that the forebears of bluegrass and old-time did as well, in their own time and within the social and political issues of their own days.
Genre-wise, Mipso may have traveled a great distance from their bluegrassy early days as a string band quartet dripping with North Carolinian roots music traditions, but again their journey, in this regard especially, does not feel overtly aspirational. These are not sounds and production values adopted in order to sell out bigger rooms or fill bigger stages. The music of Book of Fools (and really any LP in their catalog since Dark Holler Pop) is as intentional as the messages within it, so one can feel and enjoy the old-timey touches that underpin these fully-realized sonic landscapes.
Mipso hasn’t lost touch. They haven’t lost sight of how real the stakes are outside of their own experiences – and within them. While they may not be building a business model reliant on “sheds” and arenas and radio hits and dynamic ticket pricing to be “successful,” you can feel the gratitude they have for their own daily lives and careers, even while they apply critical lenses through which to talk about the social and political issues they and their community face.
It’s exciting, encouraging, and energizing, to appreciate an album that isn’t merely a rung on a career ladder, but is meant to be its own constituent journey – both for Mipso and their listeners. Book of Fools speaks to a trajectory that is neither predictable nor totally quantifiable and isn’t merely about consumption or facilitating an ever-deepening appetite for consumption. That this could be said about almost any release by this prolific foursome speaks to exactly why we’re so pleased to name Mipso our August Artist of the Month.
Watch for our Artist of the Month feature to come later in August and for now, enjoy our Essential Mipso Playlist.
Artist:Cole Gallagher Hometown: Los Angeles, California Song: “The Ocarins of the Tennessee” Album:The Confluence EP Release Date: August 4, 2023 Label: Raggy & Balls
In Their Words: “I got the inspiration for this song from an interview I heard my buddy Jimbo Hart do. He talked about fishing on Wilson Lake with his father and hearing the sound of wind blowing off the river and through caves on the side of the bluffs. Then, when I made it down to Muscle Shoals, Tuscumbia, Sheffield, and Florence, Alabama, it became clear to me it was something I wanted to write about. The song has a lot of different meanings, but I think all I was really trying to make clear was how much I loved the time spent there immersing myself in their community and culture.” – Cole Gallagher
Artist:Alice Gerrard Hometown: Durham, North Carolina Song: “Remember Us” Album:Sun to Sun Release Date: October 20, 2023 Label: Sleepy Cat Records
In Their Words: “Most of (I would say all) my music has grown from and been influenced by the music of the elders who came before me; by their lives and their experiences. Their daily hard work, whether forced or not, left its mark on everything, and their music reflected and told the story of their lives and their worlds. When I started writing this song, I was thinking about this and about enslaved men, women, and children who were forced onto ships and brought to this country, and how so many were lost. All are gone now but, as I say in the song, [their] ‘Toil and tears touch all you see… we are gone but still our truth remains…’
“We would do well to know the truth, to remember, and to carry on.” – Alice Gerrard
Artist:Mikhail Laxton Hometown: Mossman, Queensland, Australia; now based in Ottawa, Ontario, Canada Latest album:Mikhail Laxton Personal nicknames (or rejected band names): Mik (Mick)
Which artist has influenced you the most … and how?
I had a lot of great artists that I loved when I was growing up. But when I was 18, I was introduced to an artist that pretty much changed everything.
I had just joined a music school that was made up of mostly international students. One day, I was relaxing on campus when I heard this amazing song. The style of the song is what gripped me at first, then came these beautiful lyrics. I couldn’t figure out where it was coming from, so I started searching the campus, and as I got closer a friend of mine was just sitting there strumming her guitar and singing.
At first I was just so impressed with her skill and talent. She then told me she couldn’t take all the credit as the song was a cover. She gave me the name of the artist – Amos Lee. I spent the rest of that day and night watching YouTube videos of this guy, and I was just absolutely blown away by his music, his singing and songwriting. It wasn’t long before I was covering his songs and trying to emulate his voice. Not only did that ignite the fire of songwriting in me, it also sparked more interest in the idea of possibly pursuing music more seriously.
Since then, there have been only a few other artists that have impacted me the way he has (Chris Stapleton, and right there with Amos Lee is Glen Hansard). But Amos Lee’s self-titled album is what truly got things started.
What other art forms — literature, film, dance, painting, etc. — inform your music?
Mostly it’s film and photography.
I’m a very visual person. When I hear music, I automatically start seeing visuals in my head like scenes from a movie, and my mind also works the opposite way. When I see something like a film or a photograph, my mind starts playing sounds in my head.
A little interesting side note: A few years ago, shortly after I got married, my wife had an interesting observation. She said, “I find it strange that you’re a musician, but you don’t actually listen to a lot of music at all.” At that particular point, we had been driving for a couple of hours without any music. I’d never taken notice of that before, but when I thought about it, I realized that it’s because most of the time there’s music playing in my head, whether it’s a well-known song or something my brain is working on. And usually if that’s not happening, I’m most likely writing songs and lyrics in my head.
What was the first moment that you knew you wanted to be a musician?
The very first moment was when I was about 12 or 13 years old. I’d started to show a real interest in playing guitar, and I kinda had a knack for it already.
One night, I went spear fishing with two of my uncles. We came back late that night with a great catch. One of my uncles was cleaning the boat, and I was fileting the catch with the other. After a while, the latter uncle looked at me and said, “Mik, you see that guitar over there?” pointing his fileting knife to an acoustic guitar leaning against the wall. “Can you eat it?” I was very confused and said, “No.” He went back to cutting the fish and said, “What about this fish, can you eat it?” Realizing what he was inferring, I said, “Yep!” He then finished by saying, “Always remember, you can’t feed your wife and kids with guitar strings, but you can always feed them with fish!”
Basically, he was trying to squash any ideas I may have had about becoming a musician. I remember staring at that guitar at that moment, and it just made me want to go for it. I never liked being told what to do when I was that age. I’ve always had a bit of a rebellious streak in me, and this incident, thankfully, was no exception, even if it was coming from someone I admired. From that moment on, I knew music was something that I wanted to take seriously.
What rituals do you have, either in the studio or before a show?
I do have a “pre-game” ritual.
– If I’m hungry, I’ll eat no less than two hours before the show. I usually just perform on an empty stomach. This is literally just so I don’t belch into the microphone, ha ha!
– I like to get in my vocal warmups within an hour of performing. I usually do this either on the way to the venue or right before soundcheck at the venue.
– I then like to stretch and warm up my body. This includes cracking my back with some random and probably incorrect yoga poses. I love the way it makes me feel, and it’s good to manage any nerves I might have.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
Wow, this is a really good question!
A long time ago, early in my songwriting career, I was always extremely hesitant when writing songs that had some heavier content behind it — around then I had allowed my entire existence to be dictated by my faith and community of like-minded people. When I did start taking my writing seriously, I had tried to write without a filter, and I was heavily criticized by so-called friends and fellow musicians who felt that what I was writing wasn’t “nice” enough or was “too dark.”
And so I began to create a habit of censoring my writing accordingly by hiding meanings behind metaphors, and, yes, sometimes characters. Before too long, I found myself having constant bouts of never-ending writer’s block, and perhaps I developed a bit of an imposter syndrome. I felt like the music that I was creating wasn’t really art because I wasn’t allowing myself to freely create and say it how it is.
It took me a while, but thankfully I broke away from those influences. Art and music mean so much to me, and all I’ve ever wanted to do with my art is be honest, no matter how beautiful or ugly it can get. Our stories are worth telling in all their glory.
So, to finally answer your question, I do not hide behind characters. If the song is based on my own experience, you’ll know. But I also don’t mind telling the stories of others from a first-person point of view. I just use the song as a way to walk a mile in their shoes, I let those stories affect me emotionally, and I do my best to put that to paper as accurately as I can.
Our past albums were written very collaboratively and we sang together almost all the time, whether in harmony or unison, trying to create a unified voice where individuals were difficult to pinpoint. For our new album Everything Is Alive, we made a conscious effort to let the individual voices and minds of our four singers/writers show through. Here are some of the recorded songs by other artists that inspired us in writing and producing the album, to give you (and maybe each other?) a sense of where we were coming from and who to blame if you don’t enjoy the results! – Darlingside
“Cecilia” – Simon & Garfunkel
I enjoy how the energy of this song comes from snaps, claps, and non-traditional-drum-kit percussion — it’s uptempo, but also sparse. I referenced it a number of times while working on “Eliza I See,” whose percussion is mainly the sound of slapping my legs and banging on a desk in my bedroom. – Harris Paseltiner
“A Rose for Emily” – The Zombies
I’ve always been sweet on the key change into the chorus here combined with the entrance of the harmony vocals. I love a moment in a song where I get transported into a whole new place, even while the basic instrumentation maintains course — that’s the same basic move I tried on our song “Darkening Hour,” where the minor chord you’ve been hearing in the verse pivots to major right at the downbeat of the chorus and the harmonies drop in all at once right on top. – Don Mitchell
“King of Carrot Flowers Pt. 1” – Neutral Milk Hotel
There’s so much in this track that I love, but the two easiest things to point to are the double-tracked vocal and the louder-than-expected Uilleann pipes that come in at 0:46. “Right Friend” features both double-tracked (triple-tracked, even!) vocals and a loud, buzzy pad coming in on the second verse. – Auyon Mukharji
“I Love You Always Forever” – Donna Lewis
I heard this song for the first time in years at a friend’s wedding and was reminded of how incredible it is. A few days later I asked Don (middle name Lewis, no relation) to come up with a “Don(na) Lewis” guitar part (mimicking the guitar that comes in at 0:38) for “All the Lights In the City,” and he did, and I love it! – Dave Senft
“Simple Man” – Graham Nash
I’ve always loved the distant, nostalgic piano sound at the beginning of this song — it brings memories immediately back to life, like the sound of my brother practicing piano down the hallway in another room of the house. For our song “Sea Dogs” we decided to stick with a distant iPhone recording of the piano rather than a hi-fi recording because it had this same quality. – HP
“Santa Fe” – Beirut
I love how angular and buzzy the brass is on this track — it was definitely in the back of my head while I was putting an early, MIDI, brass-heavy demo of “Baking Soda” together. – AM
“We Did It When We Were Young” – Gaslight Anthem
We listened to this song on a loop when our band was in its early youth, and something about that insistent eighth-note pulse stayed lodged deep in our brains. A decade later, Auyon was learning guitar and sent out a voice memo with that familiar rhythmic feel which became the starting point for “Lose the Keys.” (The vocal melody doubled in octaves later in the song also points back to Gaslight origins!) – DM
“If You Could Read My Mind” – Henry Jamison, written by Gordon Lightfoot
This song was a guiding light for me while I was working on “Can’t Help Falling Apart,” and I think it influenced “All the Lights In the City” a bit as well. It feels honest and confessional and unresolved in a way that I’ve always admired and just feels like an emotional gut punch to me. I love the original, but the version I have been listening to more recently is this great cover by Henry Jamison. – DS
“Amie” – Damien Rice
There were a good few months of my early 20s wherein I was listening to this track daily. The plaintive, orchestral strings in “Down Here” can claim lineage. – AM
“Gulf War Song” – Moxy Fruvous
I think of this song as the gold standard for handling controversial/political subject matter in an effective way. “How Long Again” was very consciously informed by it from its inception. – DS
“Dancing and Blood” – Low Some songs make me feel things by sounding “real” — humans playing music in a room. This song goes the opposite direction: Everything is surreal and a little unsettling and it seems like things are about to go off the rails at any moment. I think this Low album inspired me to push the boundaries a bit with gated/distorted/off-kilter sounds around the margins of songs that still have a real human performance at the core. – DM
“Bloom” – Radiohead
This song is built on a few measures of extemporaneous piano noodling looped over and over, like an infinitely repeating moment of humanness. For our song “Green Light” we used an old voice memo of a mandocello that I was trying to learn how to play in Dave’s basement, which, when looped, resulted in the rhythmic core of the song. – HP
It was a Tuesday night in 2021. I was sitting in The Lipstick Lounge, Nashville’s local lesbian bar, attending RNBW, a weekly LGBTQ+ showcase. I sat near the stage at a large table amongst strangers and friends, one of whom was Laura Valk. Naturally, after introducing herself as an indie-folk singer-songwriter, I knew I had to find her music and see if she was compatible with Queerfest, my local LGBTQ+ music showcase and festival. I was stunned. Not only to find a phenomenal, local queer musician, but upon the realization that I had already liked one of her videos on TikTok! If there’s one thing I’ve learned, it’s that the queer music industry is small – and TikTok’s algorithms had me figured out.
Skout is a duo composed of Laura Valk and Connor Gladney. They played the first festival I hosted, a virtual event livestreamed in collaboration with Club Passim, and they were one of the first artists to play a live Queerfest show, back when I was hosting performances in a friend’s backyard before working with established venues.
It’s been an honor and a pleasure to watch them join the local Nashville community, take off on tours, and release new songs. Their music is laced with intricate guitar lines, hard-hitting lyrics, and warm, catchy melodies. I’m proud to present our Out Now interview with Laura Valk of Skout.
Laura Valk: Living a life with regret. It’s so insane that we’re all here to begin with, and I just want to make sure I’m taking full advantage of my time here. I know I’ll stumble along the way, but I want to live a life where I took some chances and big leaps of faith instead of always playing it safe. In the words of everyone’s favorite grassroots folk hero, Eminem, “You only get one shot, do not miss your chance to blow. This opportunity comes once in a lifetime.”
What would a “perfect day” look like for you?
LV: The year is 2012. At 8 a.m. I wake up to a text from Ben Howard asking us to open for him on his Every Kingdom Tour. Literally anything else could happen that day and it would still be perfect. Maybe some blueberry pancakes somewhere in there, too.
What’s your current state of mind?
I’ve been going through a rough patch the last few months both personally and professionally. So I’m trying to be really intentional this summer about how I spend my time and energy. Re-focusing on the things and people that fill me up and letting go of everything else.
Why do you create music? – What’s more satisfying to you, the process or the outcome?
Process 100%. There’s truly no higher high for me than the moments when a song is starting to take shape. It’s like an out of body experience. Connor and I constantly get lost in the process and it’s just this addicting feeling. Don’t get me wrong, we love sharing new music. It’s magic when you play a new song out and someone shares a personal experience that relates. But I think the formal release of a song into the world can feel like slapping all these benchmarks and metrics onto something that really is beyond measure.
Do you create music primarily for yourself or for others?
It’s all about ME. I’m kidding. Except it is, really, about me. Whoops.
I guess what I mean is that I hardly ever write with other people’s opinions in mind. A mentor once gave some great advice, that the best way to write widely relatable songs is to get as personal and specific to you as humanly possible. So I always try to write with that in mind.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
This is going to be specifically unspecific but, for me, it was all about individual friends when I was first coming out. When you share this new part of your identity with a trusted friend and instead of turning their back on you, they reinforce their love and support for you, that changes everything. That process, repeated enough times, was truly the thing that made me start feel safe while exploring my identity.
What are your release and touring plans for the next year?
We have two new singles coming out later this year! We’re psyched, we think we’re writing our best music yet and can’t wait for you to hear it.
“But if I come up short like I fear/ Will you still be proud you brought me here?” is a lyric from your latest single, “I Am Here.” How have you found the challenges of pursuing a music career and how do you cope with the slow process of growth? With that, how do you define success?
Ugh, it’s hard, man! It sounds cliché, but really celebrating the little wins is everything. The thing is, I’ll never stop making music. Ever. I’m in it for the long haul, and I think that mentality helps when I’m frustrated by slow growth. Some seasons feel like rapid-fire while during others, the motivation is harder to find. But I think knowing that the opportunity to create will always be there helps relieve some of that pressure. I’m just trying to be kinder to myself in this area.
For me the definition of success has always been a moving target. When I was in high school, success in music meant selling out Madison Square Garden. Tour busses, the Grammys, our faces tattooed on your chest, etc. Today it looks a little different. I think if I can make a full-time living off of music, in all of its forms, that, to me, would be success. And the tattoos of course. Someone tattoo our faces on yourself already so I can feel successful!!
Drawing from another lyric from the single, “But a song I wrote, it changed one life/ And the friends I hold, I hold them tight,” do you feel that changing one life is enough to make all of your time, efforts, and pursuits worth it?
Does changing a single life make all the hours, the investment, the rejections, the crashing on couches, the blood, sweat, and tears worth it? No. Probably not. But it’s still worth reminding myself of every once in a while. It’s one of those little wins I talked about above.
I think this verse captures the essence of “I Am Here,” and really touches on the success question above. It’s admitting that no, life doesn’t necessarily look like I thought it would. But there are some absolutely beautiful, redeeming things about my new reality that I need to celebrate harder. And it’s the sum of all the hundreds and thousands of little things that does, in fact, make it all worth it.
Traditional country phenom and Kentuckian Tyler Childers has announced his upcoming album, Rustin’ In The Rain (available September 8, 2023), with a brand new single and music video, “In Your Love.” Written and creative directed by New York Times bestselling author Silas House, the video tells a gay love story between two working class, Appalachian men – played by queer A-list actors and celebrities Colton Haynes and James Scully. The visuals for “In Your Love” tell one of country music’s most prominent and visible LGBTQ+ narratives to date, entering an industry landscape that has become more and more (openly) queer over the past decade.
“In Your Love” reminds of songs and albums released not just by left-leaning, more mainstream artists like Childers and Parker Millsap, but also by queer artists themselves, telling working-class stories and histories just like that constructed and depicted by House and director Bryan Schlam. In 2015, gay banjo player, singer-songwriter, and fellow Kentucky-resident Sam Gleaves released a landmark album, Ain’t We Brothers, which dripped with the exact same lived experiences and soot-tinged patina that inform Childers’ new video. In the past couple of years, releases by LGBTQ+ identified music makers like Amanda Fields, Willi Carlisle, Adeem the Artist, Amythyst Kiah, Jaimee Harris, and more trod similar ground. It’s notable still that an artist – however outlaw- or fringe-identified – as mainstream as Tyler Childers and with as broad a fanbase as his would choose to not only highlight queer, working-class storytelling, but to do so in a way that normalizes and re-centers these ways of being in Kentucky, the South, and Appalachia.
Rustin’ In The Rain will be released via RCA Records on Childers’ own imprint, Hickman Holler Records, on September 8. Via press release, Childers describes the inspiration that birthed Rustin’: “This is a collection of songs I playfully pieced together as if I was pitching a group of songs to Elvis. Some covers, one co-write, and some I even wrote in my best (terrible) Elvis impersonation, as I worked around the farm and kicked around the house. I hope you enjoy listening to this album as much as I enjoyed creating it. Thank you. Thank you very much.”
Clearly, the legacy of “The King” is merely one way drama, mystique, nuance, entertainment, and Southern-ness coalesce within this new project from one of the most exciting voices and perspectives in country.
It was just announced that hundreds of thousands of Teamsters driving for shipping and logistics company UPS will avert a strike after their negotiations came through, but even so, dozens of strike authorization votes are happening all across the U.S. as workers the world over watch WGA and SAG-AFTRA strikes, Amazon and Starbucks unionization drives, and smaller pickets like that at dinner theater Medieval Times. Union membership and public opinions toward unions are at highs not seen since the ’60s, and millennial and Gen-Z workers are joining unions, striking, and picketing at astronomical rates.
It’s important to remember that, although bluegrass in its modern iteration can often feel staunchly conservative, militantly patriotic, and delusionally nostalgic for “old-fashioned values,” it’s a genre that was born from the creativity of working class and impoverished Southerners, Appalachians, and immigrants – and it has always had a pro-worker, leftward bent. Singers, pickers, songwriters, and performers like Hazel Dickens, Ola Belle Reed, the Country Gentlemen, the Johnson Mountain Boys, Mac Wiseman, Earl Scruggs, and so many more were ardent supporters of the working class and hostile towards corporations, mines, and management. There are truly countless, never ending pro-worker, pro-labor songs to choose from in the bluegrass, old-time, and roots-music canon.
Bluegrass and old-time music, though entangled in a dense constellation of roots music and occupying space adjacent to folk music and the folk revival, were anti-corporate greed since before they had names, before Pete Seeger, before the folk revival itself. That legacy is important to place at the very center of bluegrass, a genre of music that was born out of industrialization (see also: Industrial Strength Bluegrass) as mountain folk, Appalachians, and Southerners migrated out of their rural homeplaces to urban industrial centers. Bluegrass was born from radio stations, railroads, from company towns and workers’ barracks. Whether rubber or auto plants in Ohio and Michigan, factories in Chicago, cotton mills and tobacco warehouses in North Carolina, or anywhere else in the region, as poor folks bled out of their ancestral homes to find work and upward mobility, they brought their music and their community mindsets. As bell hooks puts it in Belonging: A Culture of Place, the mountains and rural spaces are where mutual aid and anarchy are concrete, everyday practices, not just philosophies or concepts.
With those people and their music came a penchant for workers’ and labor rights, suspicion of management and company stores and towns, and a vehement, righteous anger at the injustices suffered by working class Southerners no matter where they migrated. It’s easy to find pro-Union songs, songs in support of workers’ health and agency, lyrics that espouse conservation and environmentalism in old-time, bluegrass, and string-band traditions. So easy, in fact, we quickly amassed a 4+ hour playlist featuring some of our favorite songs (bluegrass and beyond) for marching the picket line, raising a fist, and redistributing the power – and wealth – back to the world’s 99%.
Scroll to find the full playlist of Bluegrass & Roots Songs to Strike To. Below, enjoy a few selections from the list.
“In Tall Buildings” – John Hartford
John Hartford describes the doldrums of daily work as almost no one else can. (John Prine gets close with, “How the hell can a person/ Go to work in the mornin’/ And come home in the evenin’/ And have nothing to say?”) At the end of our 30-some years working, what will we have to show for ourselves besides a suit, haircut, and no more life left to give to our “retirement?” Plus, as any career musician can tell you, planning a life around retirement isn’t exactly a good option to begin with.
“Ain’t Gonna Work Tomorrow” – Wilma Lee Cooper
Ain’t gonna work tomorrow, cause it’s STRIKING day! Wilma Lee Cooper will, at long last, join the Bluegrass Music Hall of Fame this September. A bluegrass forebear who saw broad commercial success before the genre had a name or an understood identity, she regularly landed tracks with decidedly bluegrass aesthetics on Billboard‘s early country charts.
“Lazy John” – Bruce Molsky
Under capitalism, laziness is a radical act! Be like Lazy John! If you’re working all week in the noon-day sun just for 16 cents, yes, it’s strike time.
“Cotton Mill Man” – Jim & Jesse
As we remember the life and legacy of Jesse McReynolds, who recently passed, it’s striking that although he and his brother Jim performed largely cover songs and tracks written by others, they were still able to express with great subtlety their own points of view through the material they chose. Like “Cotton Mill Man” and Prine’s “Paradise,” which was a hit for the duo, their catalog of recorded and performed material is dense with class awareness.
“Black Waters” – Jean Ritchie
A truly timeless classic that remains as relevant today as in the time of its writing, as clean water protections across the U.S. have been repeatedly gutted since 2016 – and before. Our country continues to show where its priorities are, beating down protests and demonstrations even as popular and supported as Standing Rock, in order to force us to acquiesce and give up protection of our waters. The lyrical hook is even more poignant to someone, like myself, living in Tennessee Valley Authority territory in the Tennessee River Valley – where coal ash and pollutants are still regularly dumped into our waterways. These tales, these experiences, are best told directly from their sources, as in Ritchie singing this song.
“Carpal Tunnel” – Tristan Scroggins
One can find many a recording of “Carpal Tunnel” from across the years, but mandolinist Tristan Scroggins, in his mid-twenties, pointedly places this track in the present, delivering the lament in stark a capella accompanied only by body percussion. He deftly ties the lyric to embodiment and agency and reminds all of us – especially in an age governed by devices causing carpal tunnel writ large – we’re all merely one injury away from bankruptcy. Musicians know this fear intimately, as many a livelihood has been threatened by tendonitis and carpal tunnel.
“Tear Down the Fences” – Ola Belle Reed
A perfect encapsulation of solidarity across our differences – differences constructed by the ruling class to keep us quibbling amongst ourselves while they amass their wealth. This sort of community awareness often feels like a pure byproduct of the internet’s version of globalization, but even a woman banjo player from a tiny town in rural Western North Carolina understood that “all we have is each other,” way back before the worldwide web. It feels obvious to state. It shouldn’t seem remarkable, except that we’ve accepted the narrative that such compassion and ideas couldn’t possibly be born from rural spaces or the South.
“Blue Collar Blues” – Joe Mullins & the Radio Ramblers
From the shop steward of Industrial Strength Bluegrass himself, Joe Mullins, a classic working-man-blues-style bluegrass number about that paycheck to paycheck life. An all-too-common reality for so many pickers! Though that might be more accurately described as blueGRASS collar blues.
“Dark as a Dungeon” – The Country Gentlemen
Bluegrass mining songs are just as iconic in the bluegrass songbook as train songs, cheatin’ songs, murder ballads, and singing about moonshine. This version of “Dark as a Dungeon” by the Country Gentlemen is one of the best examples of the form – many of which made it onto our full playlist.
There are so many more bluegrass, old-time, string band, folk, and Americana songs for striking. Check out our full playlist below and let us know: What is your favorite pro-worker roots song?
Playlist selections by Justin Hiltner, Shelby Williamson, Jon Weisberger, and Amy Reitnouer Jacobs.
Photo Credit: By John Vachon in 1938. “Untitled photo, possibly related to picket line at the King Farm strike. Near Morrisville, Pennsylvania.” Courtesy of the Library of Congress.
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