Artist:Rob Ickes & Trey Hensley Hometown: Nashville, Tennessee Song: “Living In a Song” Album:Living In a Song Release Date: February 10, 2023 Label: Compass Records
In Their Words: “This is a song that Trey started after a long weekend of touring. Our producer Brent Maher and I finished it with him, and I just love it. I like the way Trey sings the first verse. It kills me every time! I guess one of the things that’s different on this album is that I’m singing a lot more of the harmonies. I’ve always sung a little bit, but I’ve definitely dug into it more lately. I love the tenor harmony part, and I love the sound of duets, so it’s been fun to take over more of that role in our group.” — Rob Ickes
“This song just appeared one day when we had a particularly long leg of a tour, and we were having a particularly long drive through Ohio. I’ve always loved sad songs and traveling songs, so this one just felt natural. I wrote a big chunk of this song in just a few minutes in a hotel room on that previously mentioned trip and finished it up with Rob and Brent Maher. Like a lot of other songs, this one is partly fact and partly fiction…you can decide which is which.” — Trey Hensley
Artist:Williamson Branch Hometown: Nashville, Tennessee Song: “Joy to the World” Album:Very Merry Christmas Label: Pinecastle Records
In Their Words: “Christmas time has always been the most joyful of celebrations for our family. We love the silliness of claymation cartoons, as well as the gifts under a festive Christmas tree. But ultimately, we celebrate the time when God came to dwell among us. Very Merry Christmas is our musical expression of the joy that we experience in every aspect of the holiday season. ‘Joy to the World’ the Lord is come! That’s a great reason for celebration. And what better way to celebrate than with banjos, fiddles and voices raised in praise?” — Kevin Williamson, Williamson Branch
The latest from Nashville-based, New York-bred and Georgia-born trio The Lone Bellow, Love Songs for Losers, was recorded at Roy Orbison’s creepy former house in Hendersonville, TN. The house’s vibe bled its way into the vibe of the album, which was co-produced by band members Brian Elmquist and Kanene Pipkin, producing vocals. The band went for a bombastic sound and they did it with no adult supervision (read: no outside producer influence). Frontman Zach Williams expounded on the experience along with his affinity for the house’s architect, the eccentric Braxton Dixon.
We talk about a few standout songs from album including “Gold,” which takes a look at new small town life heavily impacted by the opioid crisis, “Honey,” a sort of poking love song to his wife and “Homesick,” which serves as the theme song for his new renovation program The Williams Family Cabin. The TV show features Zach and his wife Stacy flipping a cabin outside of Nashville and all the antics that come with it. Zach is familiar with the world of home renovation shows thanks to his close friend and home reno personality, the designer Leanne Ford. He actually got some good advice from Leanne prior to starting the show, but neglected to listen (LOL).
Zach’s a really fun person to watch on stage, he’s a remarkable showman. Catch The Lone Bellow live if you can. Their new album is fantastic! The creepy old matchstick house must have really worked wonders.
Editor’s Note: Basic Folk is currently running their annual fall fundraiser! Visit basicfolk.com/donate for a message from hosts Cindy Howes and Lizzie No, and to support this listener-funded podcast.
Artist:Micah P. Hinson Hometown: Abilene, Texas Song: “Please Daddy, Don’t Get Drunk This Christmas” Album:I Lie to You Release Date: December 2, 2022 Label: Ponderosa Records
In Their Words: “‘The warmth of my childhood Christmas’ lives inside this song, and inside that whole John Denver Christmas album, with the blue painting of snow-topped mountains; my mother and father putting it on the record player every year. My memory serves perfectly the flashing lights and singing and stories and being humans and family out in West Texas, where the hills were barely hills and the mesquite trees protect no one and nothing. At least when I was a much younger boy, the snow would come sideways on the sharp winter winds that cut through my hometown.
“John Denver played on the phonograph as we’d take out the ornaments, glass and carved wood and the reds and greens, finding places for them on the branches, looking out the window to flashing lights on the houses across the alley. It was Magic. Looking back, those days when we still had seasons and by the grace of the gods, there wasn’t much to worry about. There were blankets on the bed and it was all a strange innocence in the midst of a wild world. The shields and walls that surrounded me there in my youth were all serving as well-placed and well-timed distractions from my true realization of those who did not have what I had, and where those winter days were not Magic, but fierce and wicked.
“And, listening to the words of this song, as if I couldn’t hear properly as a boy, where the song has brought jokes and laughs, it brings with it that side of reality, where Christmas lights have not warmth, but concern, and where presents were but a thing of movies and fiction.” — Micah P. Hinson
Artist:Michaela Anne Hometown: Nashville, Tennessee Song: “River” Album:Happy Xmas EP Label: Yep Roc Records
In Their Words: “The impetus behind this record is that I was asked to perform a set of Christmas songs for a friend’s show. I had never thought of singing Christmas songs so I started from scratch, thinking of which songs I was most moved by and wanted to sing along with when they came on the radio. I wanted modern songs that felt classic to me. I had a five-month old baby at the time and was thinking about what soundtrack I wanted to create for her early Christmas memories. Fun and upbeat but also melancholy, emotional and beautiful, because that is what life is. I have warm memories now of sitting at the piano, practicing ‘River’ with my tiny baby wrapped to my chest, staring up at me.” — Michaela Anne
Artist:Olivia Ellen Lloyd Hometown: Shepherdstown, West Virginia Song:West Virginia My Home (Hazel Dickens Tribute) Release Date: December 14, 2022
In Their Words: “Country Roads? Never heard of her. The truest anthem for West Virginians, especially for those of us who left home, is and always will be ‘West Virginia My Home.’ Hazel’s melancholy ballad about love and loss of place is as timeless as it is beautiful. I discovered this song when I first moved away from West Virginia over ten years ago, and it has followed me ever since. I performed this song right before moving to Nashville with a crew of some of my favorite Brooklyn-based musicians and dear friends. This recording reminds me of the community and friendships I forged in my time in New York City, and of my deep roots back in West Virginia.” — Olivia Ellen Lloyd
Artist:Rich Hinman Hometown: Los Angeles, California Song: “White Christmas” Album:Christmastown
In Their Words: “The songs on Christmastown originally came from a holiday show I played with David Piltch and Barbara Gruska at 1642 in LA in December 2019. We had a few hours to fill, and initially my impulse was to find lesser-known Christmas songs to explore — but overwhelmingly the ones that stuck out, that were the most fun to play, were songs that literally everybody knows. It was easy to feel connected to material I’d been hearing since I was a child. We made the record over two sessions, four days total, in 2021 and 2022 at Barbara’s studio and at Lucy’s Meat Market, a familiar spot in Los Angeles; we worked fast so as not to overthink or get bogged down in anything. ‘White Christmas’ was recorded at Barbara’s place in 2021; I slid a piece of foam under the bridge of my pedal steel to get the muted sound you’re hearing. Overall, it was hard to sound bad playing an Irving Berlin song with David and Barbara.” — Rich Hinman
Whether you’ve been following the Bluegrass Situation for 10 years or 10 days, you’ve likely noticed that we cover more than bluegrass. That’s especially evident in our BGS Class of 2022, a retrospective written by our contributors that includes numerous familiar faces, a couple of superstars, and even a few surprises. (And you can probably tell that we’re fans of live music.) Here are our favorite moments of 2022, listed alphabetically and enthusiastically.
Banjos, Banjos, and More Banjos
For banjo lovers, 2022 offered an array of styles and inspirations. Jake Blount explored Afrofuturism on The New Faith, while Caamp’s Evan Westfall channeled his Ralph Stanley influences into the Americana-leaning album Lavender Days. Pharis & Jason Romero embraced a folk sound in “Cannot Change It All,” Tray Wellington indulged his interest in jazz on Black Banjo, and Leyla McCalla related her Haitian heritage in songs like “Fort Dimanche.” Could banjos be the great unifier? — Craig Shelburne
Big Thief, “Spud Infinity”
With its bounding cartoon mouth harp and Adrienne Lenker’s hound dog howl, this standout on Big Thief’s double album, is a goof on Americana tropes, a funny embrace of the kookier sides of early Dylan or maybe Country Joe & the Fish. The song’s odd climax is the bemused realization that you can’t kiss your own elbows: “They’re on their own!” Lenker declares. How the band manages to pivot from such silliness to a genuinely moving existential query is a cosmic bit of choreography. — Stephen Deusner
Black Artists in Country Music
Forty years ago I wrote a review of Big Al Downing’s LP on the Team label for the Bridgeport Post-Telegram (today the Connecticut Post). I got two letters — one from (I presume) a white man saying, “N-words don’t sing country music. Why did they print your crap?” The other came from a Black guy saying, “You’re a great writer. Write about OUR MUSIC.” I know he’d be thrilled at the presence of so many Blacks in country today, and at videos like Jimmie Allen’s poignant ‘Down Home.’ It’s about life, love, country things and every bit as much about Black life as any ghetto saga or rap chronicle. Seeing it always makes me happy and seeing him and other Black stars excel in country reaffirms it is AMERICAN music, period. — Ron Wynn
Kate Bush’s Second Run and Sam Bush’s Radio John
If this year gave us one thing to be especially grateful for, it was the return of Kate Bush, whose 1986 earworm “Running Up That Hill” was inescapable following its prominent inclusion in Season 4 of Stranger Things. Suddenly Kate was almost everywhere (though to some of us she never really went anywhere but I digress…). Even my 16-year-old niece suddenly knew about “Cloudbusting” and “Wuthering Heights,” to my great joy. But Kate wasn’t the only Bush to make an impact in 2022. A more familiar face to BGS fans, the Sam variety of Bush released a beautifully personal tribute, titled Radio John, for his friend and musical icon John Hartford. While the Bushes’ music couldn’t be more diametrically opposed, the “Bushaissance” was a welcome reminder that some of our most legendary artists continue to be as prolific and relevant as ever. — Amy Reitnouer Jacobs
Mike Campbell & The Dirty Knobs at Brooklyn Bowl Nashville
This March 15 show began as a statement of where Mike Campbell is going and ended with a celebration of where he’s been. It was a cathartic night of mourning Tom Petty’s death and celebrating that his brand of literate rock lives on through Campbell’s music vision. It was exhilaratingly joyful. Bonus: Margo Price bashing away on drums behind husband and opening act, melodic songwriter Jeremy Ivey. — Jim Patterson
Cimafunk at Austin City Limits
When Cimafunk taped his Austin City Limits debut in May, it was like watching the spirits of James Brown and Prince explode into an Afro-Cuban soul-funk supernova. The moves, the grooves, the seductive way rhythms rippled through his body … the language barrier simply melted away, replaced by pure, infectious energy. From gorgeous balladry to syncopated deliciousness, Cimafunk & the Tribe, his eight-piece, jazz-influenced band, left me crushing hard — and dancing out the door. — Lynne Margolis
JazzFest Returns
The first second line parade… the first blaring brass band … the first Cajun waltz… the first bite of a cochon de lait po’ boy… New Orleans’ JazzFest was back after three looooong years! The “headliners”? Who cares? The stuff you can’t get anywhere else was what we missed. DahkaBrakha from war-torn Ukraine, their traditional towering hats against a backdrop of the words “Won’t Bow Down,” the defiant credo of New Orleans’ Black Masking Indians? Yeah you right. — Steve Hochman
Kentucky Rising Raises $3 Million
After flash flooding decimated Eastern Kentucky in early August, Chris Stapleton organized a relief concert at Lexington’s Rupp Arena on Oct. 11 that included Kentucky all-stars Tyler Childers and Dwight Yoakam. The show’s highlight came during a star-studded finale that saw Eastern Kentucky musical paragons Ricky Skaggs and Patty Loveless join others for a rendition of John Prine’s “Paradise.” The surprise moment was a powerful reminder of how, even in the darkest of times, music has the power to lift spirits. — Matt Wickstrom
After a 2015 aneurysm left Joni Mitchell having to relearn how to walk and sing, her performing days seemed over. But she had a comeback for the ages at this past July’s Newport Folk Festival, with help from Brandi Carlile and friends. Mitchell’s first full set in 23 years was an unequivocal triumph, especially the penultimate “Both Sides Now” – which had everyone there openly weeping. The moment of redemptive healing we didn’t know we needed. — David Menconi
Plains, I Walked With You a Ways
Waxahatchee’s Katie Crutchfield and Jess Williamson teamed up to form Plains this year, and Williamson may have written the perfect millennial country song for the project (though, as country music tends to do, it’ll resonate with any generation.) “Abilene” reluctantly talks of dreams that once were — now abandoned, for one reason or another. With white picket fences being harder than ever to reach these days, “Abilene” might leave my fellow millennials crying into their avocado toast, but immediately swept back up by this wholly incredible and refreshing album. — Shelby Williamson
Caitlin Rose, CAZIMI
Before November, Caitlin Rose hadn’t released an album since 2013 — and still managed to be a “top-played” artist for me every year. CAZIMI perfectly encapsulates why: Her hummable melodies, expertly balanced instrumental twang, and smart lyrical candor make every song feel like a confessional with your wittiest friend. From the forward-looking harmonies of “Getting It Right” to the vulnerable, clear-voiced “Blameless,” CAZIMI is yet another Rose stunner I’ll be spinning for decades to come. — Dacey Orr Sivewright
Sam Shackleton on Gems on VHS
A top musical moment for me this year was watching Scottish musician and folklorist Sam Shackleton on GemsOnVHS’ YouTube channel, performing the classic song “House Carpenter” from Arthur’s Seat which overlooks his hometown of Edinburgh. I love how Shackleton’s spirited busker style puts him at ease anywhere, solo or in a crowded pub jam. His richly accented singing voice and his unpretentious banjo style shine through in this video. — Lindsey Terrell
Sister Sadie, “Diane”
So, how’s this for a storyline? The singer finds out not only that her boyfriend is a two-timing creep, but also that he’s married to her friend Diane. And in this female take on the cheating story, knowing she has betrayed a friend is what hurts most. After a sweet acapella intro, a banjo backup tells you to strap in — the bluegrass is about to take off. Great story, great vocals, great drive. – Claire Levine
Chris Stapleton & Patty Loveless at the CMA Awards
For my musical moment of 2022, I didn’t have to go too far back. At this year’s CMA Awards, Chris Stapleton and Patty Loveless joined forces on a Darrell Scott classic, a gut-wrenching song about the hardship of living in the coal country of Eastern Kentucky. I performed this song a few times in my day and it still makes me shiver when I hear the hook: “You’ll Never Leave Harlan Alive.” — Jonny Therrien
https://www.youtube.com/watch?v=pZ2ZgQ1AP2c
Town Mountain, “Lines in the Levee”
With its first album on New West Records, Lines in the Levee, Town Mountain has broken into a new, exciting level. Based in Asheville, North Carolina, this Americana/bluegrass act is a high-octane, live-wire presence on stage. And, with this latest record, the group dug deep into its lyrical wellspring, commenting on the state of affairs in America — a melodic voice of reason amid uncertain times. In truth, after 17 years together, the band is only getting more raucous and riled up. “Lines in the Levee” has already become a staple in the concert realm. — Garret K. Woodward
Molly Tuttle & Golden Highway, “Crooked Tree”
Molly Tuttle’s “Crooked Tree” is a testament to finding strength in otherness. It’s a track that leans into traditional aesthetics while oozing Tuttle’s personality, worldview, and musical ethos — which remind of second-generation bluegrass trail blazers like Laurie Lewis and Lynn Morris. The confidence, vigor, and panache Tuttle has built with Golden Highway and on Crooked Tree are striking and widely resonant; in November, she received two Grammy nominations: Best New Artist and Best Bluegrass Album. — Justin Hiltner
Watkins Family Hour, Vol. II
I cheered about everything that went into Watkins Family Hour’s Vol. II. Not to downplay the 20-year milestone of Sean and Sara Watkins’ collaborative project but their third LP being devoted to just that, collaboration, felt like a burst of sunshine against lockdown’s darkness. Each song sounds so full of human individuality — of life. Rather than listening to a recording, I feel like I’ve walked into Largo for Watkins Family Hour’s next live show. — Kira Grunenberg
Photo Credit: NPR (Leyla McCalla); Newport Folk Festival (Joni Mitchell); Nonesuch Records (Molly Tuttle)
If you had to write a mission statement for your career, what would it be?
To use music to help build a front porch around the world. We need that right now. To help music lovers find a new, defined direction for their music. Music doesn’t have to be your livelihood to be a powerful part of your life. To gather the global community of front porch-minded musicians and help them do good work, bring roots music education into schools free of charge, and enhance communities by redirecting the tremendous energies of local musicians.
What other art forms — literature, film, dance, painting, etc. — inform your music?
All of it, really. I’ve written five books, a children’s book I illustrated myself, I had a published cartoon strip in 17 newspapers, written three movie scripts and, during the pandemic, took up oil painting. Obviously I have a syndicated radio and TV broadcast as well, so it is a tapestry of art. I’ve written plays and even an opera about the day Woody Guthrie wrote “This Land Is Your Land.”
As a musician and artist, what are some of the ways you like to give back to the community?
That’s hard to explain. And I offer this not in the spirit of boasting but to encourage other artists to look past their vision of “stardom” and see instead the value of doing good work with their music. It is better than a hit record. I created the SongFarmers community to help musicians the music business left behind; there are now 89 active chapters across America and Ireland. I created the WoodSongs Artist Gathering to help poets, painters, authors and songwriters find encouragement and feel like their efforts have value; so far 19 events have happened or are being organized. We have over 1,000 WoodSongs broadcasts that I consider an education into America’s front porch, so we attached lesson plans for classrooms and homeschool parents to introduce this rural heritage to their kids, all free.
I’ve performed hundreds of concerts for the homeless, the environment, farm families, battered women and children, concerts about the earth and nature as well as teenage suicide. This year tornados destroyed much of Western Kentucky and I used the WoodSongs community to collect nearly 1,000 instruments to give musicians in the region who lost everything, all for free. A few months later, floods destroyed much of Appalachia and again collected hundreds of guitars, banjos, flutes and more and gave them out free to musicians in the mountains. Recently I launched another volunteer-run project to welcome young musicians to our front porch world called WoodSongs Kids, sort of a Mr. Rogers meets the Grand Ole Opry.
Which artist has influenced you the most … and how?
I think without a doubt Pete Seeger. Perhaps not so much musically; my style is much different from his, but his vision for music, community, using song for a purpose other than “selling” things. He was my neighbor on the mountain along Rt. 9D by the Hudson River in New York, although I really didn’t understand who he was. Just a pleasant fellow who claimed to be a musician … but played the banjo. I gravitated to the musicians in his orbit as well, folks like Harry Chapin, Arlo Guthrie, Roger McGuinn, Odetta, Libby Cotton, Don McLean and others. I found his log cabin life, the rustic lifestyle, and organic thinking very close to my own. Certainly Henry David Thoreau and Vincent van Gogh have been major wellsprings of imagination for me.
What’s the toughest time you ever had writing a song?
As I write this, we are in preproduction for my new Garden of Time album. I approached the project completely backwards. I knew what the album title would be; I even designed the album art. I had everything ready except writing the actual title song. “Garden of Time” was going to be about Vincent van Gogh’s final day in the summer of 1890. But I couldn’t grab the song, it was beyond me. So I got in my car and went to the Detroit Institute of Art to see the 26 original canvases of van Gogh. To stand in front of the actual paintings, in the same space he stood with his brush in hand, was very moving. I got back home to my log cabin, fired up the wood stove, and “Garden of Time” was born in 10 minutes.
Artist:Laura Cortese Hometowns: San Francisco, Boston, and Ghent, Belgium Song: “Rainy Christmas Day”
In Their Words: “When Dietrich Strause and I independently moved from Boston and its legendary music scene to London, England, and Ghent, Belgium, respectively, we found solace in the fact that we would never have to shovel our cars out again. To commemorate that freedom, we wrote this retro Christmas song filled with nostalgia for the dreary weather of our newfound homes. To record the track, we met up on a rainy day in Room 13 in Ghent, Belgium, and asked friend, composer and folk fiddler Karl-Johan Ankarblom to arrange strings. A week later an amazing string quartet added their magic in Benny Andersson’s studio in Stockholm.” — Laura Cortese
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