Coming early 2025, I will be releasing a live concert film of my new record, Real Life Thing. The film runs like a play of sorts, including different set changes and moods for each song as we run down the entire track list of the album. To me, live performance is the reason for making music. It’s the best way for me to tap into something deep in myself with those that have come out to do the same. It’s also the way that I make my trade as a human; I think live performance already brings an honest and vulnerable energy since it is our livelihood.
Songs evolve each time they’re performed live and each instrument reflects a current mood. It’s an endless mixed bag of potential outcomes. So much of a performance is pulled from all of the energies involved – the crowd, the band, the venue and the ghosts that live there, the time of year, etc. It’s the most exciting part of music to me and that’s why I decided to make my playlist all live performances of some of my favorite songs. – Sam Blasucci
“If I Was Your Girlfriend” Live In Utrecht (2020 Remaster) – Prince
I could have made this entire playlist just live Prince recordings that blow my mind, but that might only be fun for me. I especially love this version because it’s a song he wrote as his alter ego persona Camilla, who sang it on the album (Prince pitched his voice up to sound higher). But in this version, you just get Prince in Europe with his natural voice and it’s one of my favorite recordings of his ever.
“Hey That’s No Way to Say Goodbye” Live in London – Leonard Cohen
I think this is Leonard Cohen’s best album of any, live or in the studio. He was better and better with age. This is the cute version of Leonard as an old man finally, singing this song in the way it feels like it should have always been sung. Of any live performance on this list, this is the one I would have loved to see most in person.
“LA FAMA” Live en el Palau Sant Jordi – Rosalía
Some live versions I think are better than the studio versions and this is one of those cases, although I love the studio versions of all the MOTOMAMI songs. When Rosalía released this on the deluxe version of the album, it gave the song another side and clicked with me even more.
“Hunter” (Live) – Björk
If the purpose of a live performance is to tap in to something, Björk never missed. She’s the hunter.
“Knock On Wood” Live; 2005 Mix; 2016 Remaster – David Bowie
This is my favorite era of David Bowie (Cracked Actor). I especially love his vocal performance in this version. It’s not easy to cover a classic song like this and have it feel tastefully ramped up, but I think he brought it and crushed it.
“Voices Inside (Everything Is Everything)” – Donny Hathaway
Willie Weeks may be my favorite bass player and his solo section toward the end of this is widely known as one of the coolest bass moments, and with good reason. I suppose it shouldn’t be that hard to tap in when Donny Hathaway is leading the band.
“17 Days” Piano & A Microphone 1983 Version – Prince
When you can strip it all down to a single instrument and a voice and come through with so much power and spirit, that must be the true peak of live performance. When there is nothing else in the pot, all the secret parts of the music come out and make magic.
“Hot Burrito #2” Live at Lafayette’s Music Room – Big Star
I always thought Alex Chilton had some similarities with Gram Parsons. They sort of sing in a similar way and they both show so much emotion in their songs. I think that’s why he could make this version hit so hard. Chilton is at the top of my list of guitar players as well, and this song is a reason why.
“Ventura” Live 2003/The Fillmore, San Francisco – Lucinda Williams
This was recorded on my birthday in 2003. Although I was in 3rd grade and not in attendance for the show, I’d like to think I helped with the vibes. This one sounds like November in SF to me. Another amazing thing about live performance is capturing the energy surrounding the show.
“Woman of Heart and Mind” Live at Universal Amphitheatre, Los Angeles, CA, 8/14-17, 1974 – Joni Mitchell
Another version that I prefer to the studio cut. The sound of the night and the live acoustic guitar; Joni’s semi-confrontational and conversational writing style seem to be designed for an in-person type of listening.
“Angel Eyes” Live In Toronto/1975 – Jim Hall
Jim Hall is another one of my favorite guitar players. I learned about this song years ago on tour in Colorado and it has ever since remained one of my favorites.
“Stay a Little Longer” Live at Harrah’s Casino, Lake Tahoe, NV April 1978 – Willie Nelson
This feels like a good burning ender to this playlist, although it is the very opening of the concert it was taken from. Willie’s recipe is 3x the speed of the original, a couple out of control solos, and likely some exotic mood modifiers.
Happy New Year! Our very first New Music Friday of 2025 brings our very first premiere roundup of the new year, too. We’re so excited to dive into another 12 months’ worth of superlative Americana, country, folk, bluegrass, old-time, and more.
Don’t miss a brand new track from critically acclaimed singer-songwriter Kora Feder, who debuts “Rambling Man” from her upcoming album, Some Kind of Truth. Her voice shines, crystalline and pure above a warm and crisp folk-rock-meets-Americana backing track. It’s a song about gender, wanderlust, expectations, and inhabiting agency – freedom.
Next, West Virginian (via Brooklyn) folk artist Olivia Ellen Lloyd brings us a lyric video for the title track for her highly anticipated 2025 record, Do It Myself. Staying within our coincidental theme of agency and autonomy, “Do It Myself” celebrates Lloyd’s self determination and self possession with her particular agnostic West Virginian blend of roots genres and styles. It’s indie, folk, Americana, country, and string band all wrapped up into one tidy, charming musical package.
To wrap up our first premiere collection of the year, don’t miss our latest Good Country Goodtime session from our debut GC variety show in Los Angeles last September. The latest installment of our exclusive clips from the show features “garage country” artist and songwriter Aubrie Sellers offering her stellar take on a country classic, “Make the World Go Away.” That voice!
You can find all this incredible music below and, honestly – You Gotta Hear This! Happy new year, happy new music.
Kora Feder, “Rambling Man”
Artist:Kora Feder Hometown: Detroit, Michigan Song: “Rambling Man” Album:Some Kind of Truth Release Date: January 3, 2025 (single); March 18, 2025 (album)
In Their Words: “‘Rambling Man’ is about self confidence as quiet rebellion. It’s about gender and beauty standards, about the feeling of achieving freedom from expectation and self-suppression. It’s the kind of song that can fuel a solo drive or inspire barefoot dance sessions in the kitchen. I hope that it is as empowering to listen to as it was to make.” – Kora Feder
Track Credits: Paul Mayer – Piano, drums Justin Farren – Guitar, bass, pads Written by Kora Feder Mixed by Justin Farren Mastered by Eric Broyhill
Olivia Ellen Lloyd, “Do It Myself”
Artist:Olivia Ellen Lloyd Hometown: Shepherdstown, West Virginia Song: “Do It Myself” Album:Do It Myself Release Date: January 3, 2025 (single); March 21, 2025 (album)
In Their Words: “When I sing this song, I think of the Rilke poem, ‘Archaic Torso of Apollo.’ To me, that poem summarizes how art can move someone into action, and how we can be perceived by our creations just as we perceive them. I had memorized that poem over a decade ago for a speech class in undergrad, and on the day I sat down to write ‘Do It Myself,’ the last lines, ‘For here there is no place that cannot see you. You must change your life,’ came to me like a meditation.
“At many points over the almost two-year process of making this record, I had no idea how I was going to take the next step, pay for the next expense, or reach the next milestone. But I had a song that insisted that I could, I would – do it myself. So I kept moving, slowly at times, until it was complete. And every so often, at various stages of creating this album, I would play this song – first the bounce, then the rough mix, then drafts of the final mix – and dance around my apartment in Brooklyn. As if to remind myself that I could do it. Even if I didn’t know how (yet).” – Olivia Ellen Lloyd
The Good Country Goodtime: Aubrie Sellers
On September 27, Good Country and BGS debuted our brand new variety show, the Good Country Goodtime, at Dynasty Typewriter in Los Angeles. The inaugural show was hosted by country and bluegrass singer-songwriter Robbie Fulks and featured appearances by artists Victoria Bailey and Aubrie Sellers as well as a hilarious set by comedian and actor Kurt Braunohler. Backing up the talent was our first class Goodtime house band led by the Coral Reefers’ Mick Utley.
For our second installment in our series of clips from the September edition of the show, “garage country” artist and singer-songwriter Aubrie Sellers offers an incredible cover of a country classic, “Make the World Go Away.” Sellers is a fascinating roots artist with a deep and broad country and Americana pedigree. Her music combines so many genres – indie, folk, rock and roll, grunge, and blues blend effortlessly with bona fide old country chops and pop-meets-countrypolitan glamor. But here, on the Dynasty Typewriter stage, her rendition of the indispensable Hank Cochran-penned hit is remarkably simple and down-to-earth.
That, Mickey Hart recalls, is the first thing Zakir Hussain said to him when the young Mumbai-born tabla player, having recently arrived in the U.S., knocked on the door at the Grateful Dead drummer’s Marin County ranch.
“His father said, ‘I can’t play with you because I play the quietest instrument in the world and you play the loudest,’” Hart says, laughing in the den of his ranch house on a recent Zoom chat. “But he said, ‘My son, he could play with you. I will send him to you.’ And so he did.”
And? “It was just magic,” Hart says, beaming with the memories.
Soon Hussain moved into the barn studio facility at Hart’s ranch. And they played. And played.
“We played for four hours one time,” he says, then realizing that was nothing. “We played for four days and nights! Four days and nights! We really got to know each other and played every day. He was the crown prince of tabla, and when his father died he became the king.”
Father and son, in fact, duetted on Hart’s first solo album, Rolling Thunder, released in 1972. Soon other collaborations followed, including the creation of the Diga Rhythm Band, which grew around a multi-cultural percussion ensemble Hussain formed at the Ali Akbar College of Music in Berkeley. The group’s lone 1976 album also featured Hart’s Grateful Dead mate Jerry Garcia on two tracks.
“He loved Jerry, they just loved each other,” Hart says. “Their personalities were very similar. Jerry was really kind, loving, thoughtful, and so was Zakir.”
Hart and Hussain sparked creative energy in each other and an eagerness to explore.
“He taught me various ways rhythms could be used, exposed me to rhythms that I could never imagine, which I took to immediately, and I wanted to learn them,” Hart says. “When we did Diga Rhythm Band together, that was the first time I had to learn composition. He composed half of it and I composed the other half.”
If Hart had to learn new discipline, Hussain had to unlearn some.
“When he came to America he kind of picked up on some American traits, and he liked the looseness of my style,” Hart says, slipping back and forth between talking of Hussain in the present and past tenses with the freshness of this loss. “It freed him from the strictness of Indian classical music. My gig was a little serpentine, you know. His is straight down the pike. As accurate as he could be, it is like a machine. He’s the Einstein of rhythm, so playing with Einstein was really cool. But I didn’t have that sensibility. That’s not the way we did it in the Grateful Dead, right? And he loved that. He really took to it. And that’s what he said I taught him. It was a wonderful combination, a meeting of the minds and a meeting of the hearts.”
The meeting, and the mutual growth and openness to new vistas, continued as Hussain had key roles on Hart’s 1990 album At the Edge, 1991’s Planet Drum (which won the first-ever GRAMMY Award for World Music), 1996’s Mystery Box, 1998’s Supralingua and 2000’s Spirit Into Sound. Each brought together a world-circling community of percussionists on stage as well as in the studio.
With 2007’s Global Drum Project, the Planet Drum ensemble coalesced around a core of Hart, Hussain, Puerto Rican conguero Giovanni Hidalgo and Nigerian talking drum master Sikiru Adepoju, the quartet mounting several dazzling concert tours and coming together again for the 2022 album In the Groove. The joy they brought each other was clear to anyone who saw their shows.
The same spirit sparked much exploration throughout Hussain’s life. Around the same time he was creating Diga, he teamed in Shakti with jazz guitar boundary-breaker John McLaughlin, Indian violinist L. Shankar, and Indian percussionists Ramnad Raghavan and T.H. Vinayakram, rooted in traditional styles but reaching to new territories. Hussain and McLaughlin teamed regularly through the years with several other lineups (at times called Remember Shakti) and a triumphant final Shakti album and tour in 2023.
Hussain also had his own regular tours and recording projects with different ensembles under the name Masters of World Percussion, as well as a 2015 tour leading an East-West ensemble with veteran jazz bassist Dave Holland inspired by the oft-overlooked world of Indo-jazz.
Taking another tack, with Béla Fleck and Edgar Meyer he created a banjo-bass-tabla triple concerto, “The Melody of Rhythm,” crossing lines of progressive bluegrass and both Western and Indian classical as documented on a 2009 album with the Detroit Symphony Orchestra. The three came together again in 2023 for the album At This Moment, which also features Rakesh Chaurasia on the Indian bamboo flute, the bansuri.
Other collaborators, among many, included Yo-Yo Ma, Van Morrison, George Harrison (Hussain played on the 1973 album Living in a Material World), Bill Laswell, and even Earth, Wind & Fire. He also had a long association with saxophonist Charles Lloyd that produced several wonderful albums, including 2022’s Sacred Thread, a trio with guitarist Julian Lage. And, of course, he made countless concert appearances and recordings with the top artists of Indian classical music.
“No one has crossed more borders than him,” Hart says. “Yeah, I’ve crossed a few myself. Not like him. He’s gone beyond me or anybody else I’ve ever met or heard of. He took to the air and went to all these different places, interacted magnificently with all these different cultures. What an incredible ambassador of music.
“And he was very kind when he played with you. He never overplayed, which he could do in an instant. But he was so kind, such a great person that he reserved himself. He never tried to show you up, he was never in competition with me. He was harmonious and rhythmically blissful, in a way. I guess you could call this bliss, bring the bliss word into this.”
Can Hart hear Hussain in some of his own and the Dead’s music?
“Oh God, yes!” he says. “Think of all the Grateful Dead rhythms.”
He cites “Playing in the Band,” for which he wrote the music with Bob Weir, adapting a piece called “The Main Ten,” a version of which appeared on Rolling Thunder.
“That’s 10/4 rhythm,” he says. “Nobody played 10/4 then! And there was ‘Happiness Is Drumming,’ which became ‘Fire on the Mountain.’ That was one we did in Diga. And the 7/4 on ‘Terrapin Station,’ and a lot on Blues for Allah. That was what we were playing in Diga and Phil Lesh picked up on it and everybody picked up on that rhythm and that became ‘King Solomon’s Marbles.’ No one did that in rock ‘n’ roll.
“So Zakir influenced me in so many ways, subtle ways and obvious ways. He was a big influence on the Grateful Dead. And he loved the way Bill [Kreutzman] and I interacted. That became kind of a model for him in some ways because it made it, I don’t know how you’d say it, legal for him in a way. He said, ‘Oh! Now I can do this! This is okay!’ Because only two drummers could do something like that.”
With all that, where would Hart recommend someone wanting to get to know Hussain’s music start? At first he insists that he couldn’t possibly narrow it down.
“I’d rather not,” he says. “Anything he ever played on is a wonder.”
But he gives it a little thought, mentioning several of the cross-cultural albums they made together, before focusing on Venu, a very traditional session he recorded in 1974 featuring Hussain in duet with Indian classical bansuri flute player Harisprasad Chaurasia. This came about when George Harrison’s “Dark Horse” tour, which featured the Indian all-star ensemble Ravi Shankar & Family (including Hussain’s father) as well as Western musicians, did shows in the Bay Area. Harrison and Shankar arranged for a private concert to be held at the historic Stone House, a granite building in Fairfax.
“We brought a bunch of them back to Marin County,” Hart says. “I had just got a 16-track machine from Ampex, threw it in the back of my pickup with a bunch of hay and all that. We went there and did the first 16-track remote recording.”
The music on the album is gripping, two long pieces featuring the venerable Rag Akir Bhairav, a devotional melody meant for the early morning hours, unfolding with grace and power. The first part is largely Chaurasia solo, with Hussain coming in for the second half, the pairing at times delicately rippling, at others building to frenzies, always in perfect, empathic sync.
Hart also cites Sarangi, a second album which he and Hussain co-produced at the same event with Ustad Sultan Khan’s sinewy playing of the bowed instrument that gave the album its title, accompanied by tabla player Shri Rij Ram.
Legacy is a difficult thing to predict. But to Hart, Hussain’s artistic importance is found in the drive the two of them shared to experience all music and cultures and to bring them together.
“He brought together cultures that no one had ever dreamt of, from Egypt with me and [oud player] Hamza El Din, from Nigeria with [drummer] Babatunde Olatunji, with Airto from Brazil. We introduced into the Western world something filled with all these gems and wondrous rhythms. That’s something that will never be forgotten. And all the cultures he touched around the world for all these years. He made quite a difference. There is no place that he’s played that he is not revered.”
It’s talking on a personal level, though, that Hart becomes emotional, effusive, as he reaches back through time to that day Zakir Hussain came to play.
“We just fell in love with each other,” he says. “We really liked each other. He is such a kind man. I don’t know anybody who doesn’t like him. I can’t say that about anybody else, actually.”
He throws his head back and laughs.
“He’s singular in that respect. And it reflected in his music and the way he played with other people.”
On January 9, 2025, there will be a special performance – more so a once-in-a-lifetime celebration – of the groundbreaking music of Old & In the Way at Nashville’s famed Ryman Auditorium.
Led by the “Bluegrass Buddha” himself, Peter Rowan, the legendary singer-songwriter and founding member of the group will be backed by the Sam Grisman Project. The gathering will also feature a murderers’ row of talent: Sam Bush, Tim O’Brien, Lindsay Lou, Ronnie & Rob McCoury, and more.
“In bluegrass, you just do the beautiful grace of presenting the music, being good neighbors and all that stuff,” Rowan told BGS in an exclusive 2022 interview. “But you could hear us in the band going, ‘go, man, go.’ Go for it, that’s where we came from. That’s what Old & In the Way was – the ‘go for it’ signal to everybody.”
To preface, Old & In the Way started as impromptu pickin’-n-grinnin’ sessions in the early 1970s between Rowan, his longtime friend, mandolin guru David Grisman, and Jerry Garcia, iconic guitarist for the Grateful Dead, who reached for his trusty banjo during the gatherings at Garcia’s home in Stinson Beach, California.
“We started picking every night after supper [at Jerry’s],” Rowan remembers. “We went through old song books and learned a bunch of material.”
At the time, Garcia was searching for new avenues of creative exploration, seeing as the Dead were in the midst of taking a much-needed hiatus after years of relentless touring and recording. He was also, perhaps subconsciously, trying to tap back into his roots before the Dead, this landscape of the late 1950s/early 1960s where Garcia was heavily involved in the San Francisco Bay Area folk scene.
“And you realized that Jerry was an intergalactic traveler, just dropping in on the Earth scene for a little while, but he was totally at home,” Rowan says of Garcia’s restless penchant and lifelong thirst for acoustic music.
When Old & In the Way formed in 1973, the trio recruited bassist John Kahn, as well as a revolving cast of fiddlers (Richard Greene, John Hartford, Vassar Clements). Sporadic gigs were booked around the Bay Area, with the vibe of the whole affair casual in nature – the ethos one of camaraderie and collaboration, but without expectations or boundaries.
“I remember singing the ending of ‘Land of the Navajo’ at the first rehearsal and I looked over at Jerry,” Rowan recalls. “He kept nodding his head like, ‘go.’ It was like Jack Kerouac at Allen Ginsberg’s poetry reading at City Lights Bookstore – ‘go, man, go.’ Encouragement, encouragement.”
By 1974, Old & In the Way simply vanished into the cosmic ether, but not before capturing a handful of live performances that have become melodic sacred texts of a crucial crossroads for acoustic music. To note, Old & In the Way’s 1975 self-titled debut album went on to become the bestselling bluegrass album of all-time – until it was dethroned by the O Brother, Where Art Thou? soundtrack released in 2000.
As it stands today, Rowan, now 82 years old, is the only remaining member of Old & In the Way still actively performing. Garcia, Clements, Kahn, and Hartford have all sadly passed on, with the elder Grisman and Greene retired from touring. Grisman’s son, standup bassist Sam Grisman, is now carrying his father’s bright torch.
And although the tenure of the Old & In the Way was short-lived, the ripple effects of the band’s ongoing influence and enduring legacy remains as vibrant and vital as it was those many years ago, when a handful of shaggy music freaks kicked off a jam that will perpetuate for eternity.
In preparation for the upcoming Old & In the Way showcase at the Ryman on January 9, BGS recently spoke with Sam Grisman, who talked at-length not only about his continued work with Peter Rowan and the intricacies of Jerry Garcia, but also why a band Grisman’s father started over a half-century ago still captivates the hearts and minds of music lovers the world over.
You were five years old when Jerry Garcia passed away. You were really young, but do you remember anything that you hold onto?
Sam Grisman: Yeah, I have a very vivid memory of what our house felt like, smelled like, and just what the energy was like when Jerry was around. And I remember that sort of ease, just the way that he made people feel. It seemed like my parents were at ease when he was around.
And he probably felt at ease being around them. It was probably a safe haven at that house.
Definitely. And, you know, my parents smoked weed in the house. But, my mom was pretty strict about cigarettes. [She] wouldn’t let anybody smoke cigarettes in the house. But, when Jerry was around, he smoked cigarettes in the house. So, part of this smell in my blurry five-year-old memory is the smell of cigarettes. And Jerry would sometimes wear a leather jacket, maybe the smell of leather.
I remember the sound of his laugh. I remember all that music, and some of it I remember so vividly that I just know that part of that memory is reinforced by being there as a little toddler when they were working up [music]. Because they would often work on tunes upstairs in the living room and then take them down to the studio, put them on the mics and pull them.
You just wanted to be around it all and soak it all in.
I was a really curious kid.
With the Ryman show coming up, there’s been a lot of celebration of Old & In the Way as of late, especially with you touring with Peter Rowan and the current Jerry Garcia exhibit at the Bluegrass Hall of Fame & Museum. You’ve been around those songs your whole life. But, when you think about the context of Old & In the Way, and what you’re doing at the Ryman, what really sticks out with why that was such a special time in not only bluegrass, but in the lives of those people?
I mean, what a lightning-in-the-bottle chapter of all those people’s lives, you know? I think 1973, ’73/’74, was a particularly fertile time for Jerry. He was playing a full schedule with the Dead. He had Jerry Garcia Band stuff. He was playing in Old & In the Way. He was playing pedal steel with the New Riders of the Purple Sage. It seemed like he really had an itch to go back to where his roots were, especially when you look at [the Grateful Dead album] Workingman’s Dead [that was released a] couple years prior.
For all of us, who are looking back on it 50 years in the future, it seems like this momentous, heady time that was just meant to be. But, for those guys in the moment, it was just total serendipity. And the quintessence of just going with the flow – Stinson Beach, California, vibes. They just kind of stumbled into this reality.
“Y’all wanna play?” “Sure, why not.”
Yeah, where it would just be really fun to have this bluegrass band that they didn’t take super seriously, which I think really comes across in the recordings, you know? Because there’s all this joy in that music that might not necessarily have been there if those guys were taking it super seriously or if they needed it to pay their bills. It was a very interesting circumstance.
And for them to call their hero Vassar Clements into the mix, on a sort of whim because Peter found his number on a card in his wallet. It was sort of like a fantasy camp for these guys. Like a bunch of hippies sitting around on the beach, smoking a joint, thinking: “Wouldn’t it be great if we had the world’s greatest fiddle player just show up?” “I bet you we could book a gig.” “Hey Jerry, you got these legions of people following you around, you could probably get us a gig, right?”
And that’s kind of how it happened. Those gigs were so magical, because they happened mostly for all of these Deadheads in Marin [County, California], for like 16 months or something.
So, if you really had your finger on the pulse of it and you were going to the Keystone [music club in Berkeley, California], to see [the Jerry Garcia Band] and you loved what the Dead were doing, you knew that they were going to take this time off, but you just saw Jerry the week before and he never took his guitar off. He just finished the [Jerry Garcia Band] set and walked backstage with his guitar on and was smoking a cigarette, and then you saw him 30 minutes later talking to somebody off the side of stage, still had his guitar on — you’re thinking, “Gee, this guy’s not going to stop playing music this year, so I better keep my eyes peeled for what’s next.” And they played all these little gigs mostly around the Bay Area — they kind of captured some lightning in a bottle.
With playing these Old & In the Way melodies not only throughout your life, but also extensively nowadays with Peter Rowan, what’s been your biggest takeaway on what makes those songs and the ethos/history behind them so special to you? What about in terms of musicality, technique, and approach?
It’s hard to articulate how special it is to be exploring these beloved songs that mean so much to so many folks, myself included, with Peter and a cast of some of my best friends and favorite musicians. It’s a catalog that’s got a lot of depth.
Old & In the Way would play anything from songs by bluegrass heroes like Bill Monroe, The Stanley Brothers, Reno & Smiley, and Jim & Jesse to Vassar [Clements], Jerry [Garcia], and my pop’s instrumentals, to the tunes that Peter was writing at the time, which are some of my absolute favorite songs ever written.
Songs like “Midnight Moonlight,” “High Lonesome Sound,” and “Panama Red.” Playing these tunes with Uncle Peter makes me feel connected to the times he spent with David and Jerry in Stinson Beach in the early ’70s.
I grew up in Mill Valley and loved going to Stinson Beach with my friends, so I have a pretty vivid image in my mind’s eye. They played tunes, hung out, relaxed, took in the sea breeze, smoked a bunch of great weed, and developed a highly individuated “West Coast” approach to playing and singing this bluegrass music that they all loved and respected so much.
And then, they called one of my bass heroes, John Kahn, and their fiddle hero, the inimitable Vassar Clements and gave the world about one glorious year – I think around 50 shows – of a rare and lovable breed of bluegrass.
So much of everyone’s personality comes through in the music, and you can hear their camaraderie in the recordings. I guess my biggest take away from getting to play this music with Peter is how important it is to bring your own approach to these timeless songs that we love, while still honoring what it is that makes us love them in the first place.
You’ve known Peter Rowan since you were born. But, what has this latest endeavor together meant to you, to play the Old & In the Way catalog to not only lifelong fans, but also a whole new generation of acoustic music fans and bluegrass freaks?
It means the world to me to get to spend some time out on the road sharing space and time in service of this music with Uncle Peter. Getting to meet all of these folks who care so much about this music and feeling their appreciation and gratitude for Pete has been truly special.
There are so many people from so many different ages and different walks of life for whom this music has been the soundtrack to many fond memories, and I’m honored to be one of them. It’s also been a joy to see fresh faces in the audience and some folks taking in this music with a new perspective.
In your honest opinion, what is the legacy of Old & In the Way when you place it through the prism of the history of bluegrass and the road to the here and now, especially this current juncture where the torchbearers are selling out arenas and creating this high-water mark for acoustic, traditional and bluegrass music?
For many folks who know and love the music of Jerry Garcia and the Grateful Dead, Old & In the Way has been their first exposure to bluegrass. So many people over the years have told me how listening to Old & In the Way led them to further explore bluegrass music and its roots and branches. And others have told me how it inspired them to become pickers and start bands of their own.
I think Old & In the Way has been pivotal in bringing a wider audience with a more adventurous musical palette into the bluegrass universe. The legacy of Old & In the Way is one of exploration and preservation, and they certainly paved the way for many of us to walk a similar path — honoring the music that we love, while exploring its boundaries and finding our own voices and approaches.
It’s wonderful to see my friend Billy Strings out there playing for so many folks on such a big scale simply being himself, playing his own songs with a great group of friends, and also honoring the material that made him the musician that he is — maybe that’s a part of the legacy of Old & In the Way.
Photo Credit: Elliot Siff Poster Credit: Taylor Rushing
We’re not always promised earnestness and raw talent from musical guests who show up on late night talk shows, but Julien Baker and TORRES brought both during their energizing joint television debut on The Tonight Show Starring Jimmy Fallon last week.
Donning brightly colored western suits embroidered with flowers and wielding an eclectic mix of acoustic and electric instruments, Baker, TORRES, and their sprawling backing band are vital and promising in their four-and-a-half minutes on stage. It feels like stepping into a slightly altered version of reality, one where past and future bleed into one another.
Together, the seasoned songwriters blend elements of ’90s-era alt-country, western, and indie-rock; their energizing harmonies feel so riddled with life they couldn’t possibly be defined by genre. Baker and TORRES are returning to the root of something honest, vulnerable and nostalgic with their sound. But they’re also acting as alchemists, creating a secret third space, almost inexplicably, using familiar, common elements. There’s just something about this performance that words can’t quite capture.
“Sugar in the Tank” starts out slightly subdued. Baker sings in a characteristic restrained-yet-emotive voice as she plucks the banjo. TORRES starts a twangy conversation between their Fender Telecaster, the fiddle and the pedal steel. But as the song builds, the energy of the performance becomes electric and infectious. When TORRES first comes in with their rich vocal harmonies and the band kicks into full gear, the song becomes bigger than the sum of its parts. But even as it becomes raucous and expansive, the performance still manages to feel tender, personal and heartfelt.
At one point, Baker sings, “I love you now, already and not yet,” and this trepidation, this confusion matched by conviction, feels deeply fitting for the energy the musicians bring to this performance.
Baker is best known as the founder of indie/folk-pop supergroup boygenius, while TORRES has been trodding a steady path as a solo artist for over a decade. The two just recently started recording and performing together, and it looks like there’s plenty more to come. While “Sugar in the Tank” is the only single Baker and TORRES have released so far, rumor has it they have a full-length country album in the works. The two will be performing in select cities throughout the U.S. this coming spring and summer, and you can check out their full list of tour dates on their website.
Music is all about moments. It’s a fact we tend to lose sight of, forest for the trees, despite the fact that music can only exist in this, the present moment. Each pluck of a string, each breath of a voice, each lick, hook, and improvisation – no matter how practiced or free – is but a mere moment.
As we all rewind the calendar year to relive the last twelve months and all of the turmoils and triumphs they held, we asked our BGS contributors to reflect on which musical moments they experienced this year that were most memorable, most moving, and most transportive. Which musical moment would you return to, if you could? Which musical moment returns to you, again and again and again?
Our year-end lists are not intended to center on superlatives or “bests;” we don’t so much care about what “should” or “shouldn’t” land in one of these collections. Curation of this sort is never truly objective, so why pretend it is? Instead, we hope our writers and our readers will be able to demonstrate and appreciate that music is never about measuring or comparison, metrics or accomplishments, accolades or awards. Music is about moments – and about wholly inhabiting those moments, together.
Below, our first-rate writers, thinkers, and contributors share the musical moments from 2024 that impacted them most. From Beyoncé galloping through our hearts with Cowboy Carter to intimate, people-first festivals like Laurel Cove Music Festival in Kentucky. There’s also music from harlequin creators like American Patchwork Quartet, Kaia Kater, and Rhiannon Giddens alongside memories of the late Dexter Romweber and the strength of mutual aid and community solidarity in Western North Carolina post-Hurricane Helene.
2024 held so many intricate, ineffable, one-of-a-kind moments, good, bad, ugly, and gorgeous. We hope you’ll take a second to recall your own most memorable musical moments of the year while we share ours – and while we all look forward to many more in the year to come.
August 20, 2024 – Chris Acker and Dylan Earl at Folk i Storgata, Oslo, Norway
Photo by Dana Yewbank taken at a show by Chris Acker and Dylan Earl at Folk i Storgata in Norway.
While this doesn’t quite fit any stereotypes about Scandinavia, black metal, or Viking-inspired neo-folk, Norway has a thriving Americana music scene that welcomes and celebrates even lesser-known American folk and country artists. Chris Acker and Dylan Earl are two of these undersung artists, both represented by Nick Shoulders’ record label Gar Hole Records out of Arkansas. This past summer, Acker, Earl, and I all coincidentally ended up in Oslo, Norway, at the same time, where the pair put on an intimate, inspiring, and tightly-packed show for a crowd of about 30 people in a tiny bar with pink walls. They bantered with the audience, backed each other up on a few songs, and even spontaneously formed an unrehearsed superband with the bar owner and their Norwegian opener – and they were damn good. Acker and Earl are both deeply thoughtful musicians who use their power and presence as men on stage to question the status quo of “good ol’ boy” country and stoic male musicality. Their candidness and subversive humor drew the room together that night with a sense of camaraderie, safety, and concentrated joy. – Dana Yewbank
Act Now! A Paperface Zine Benefit Tape for the Palestine Children’s Relief Fund
A harrowing statistic from the UN agency for Palestinian refugees (UNRWA) reports that as of March 2024, the number of children killed in Gaza over a mere five months (October 2023 to February 2024) surpassed the number of children killed in global conflict over the four years prior, combined (2019-2022). As of December 2024, we are a year and two months into the ceaseless genocide being waged against the innocent civilians of Palestine and the horrific violence only continues.
I salute everyone who has waged resistance against genocidal powers, be it contacting senators, galvanizing communities to action, participating in rallies, or, in this instance, artists and musicians who have used their platform as an act of protest. Paperface Zine, a blog that writes and interviews an eclectic mix of underground artists, spearheaded this collection of tunes in an effort to express solidarity with Palestine and raise funds towards the Palestine Children’s Relief Fund. This Benefit Tape is a shining example of how most any skill can be mobilized to support greater communities; creativity and care forever go hand in hand. – Oriana Mack
American Patchwork Quartet, American Patchwork Quartet
American Patchwork Quartet have pieced together one of the best albums this year. Don’t take our word for it: they’ve been nominated for a GRAMMY for Best Folk Album. That’s the moment we want to celebrate. With all due respect to the other nominees, it’s exciting to see a brand new project get recognized so quickly – particularly one that colors outside the lines like APQ. The quartet add a number of global influences to traditional American songs: a guitar solo here, a sitar there, and a fine sprinkling of tabla make the quartet live up to their name. Now, especially, we need statements that American traditions were born of a tapestry of European, African, and Indigenous cultures that continue to be built upon by everyone who chooses to make this place a part of their own quilts. – Rachel Cholst
September 26, 2024 – Asheville, North Carolina’s Music Scene and Hurricane Helene
On the night of September 26, Hurricane Helene ravaged Western North Carolina with unprecedented rainfall and flooding. What resulted was a tight-knit area completely decimated and utterly distraught by the destruction of numerous communities. The current death toll for the state sits at 103, with many others still missing.
Beyond the cultural, economic, and unbelievable physical devastation to Asheville and surrounding towns, the city’s vibrant and world-renowned live music scene was brought to its knees – a radio silence that lasted several weeks, with numerous unknowns lingering for certain storied venues. But, with great resolve and a steadfast attitude of helping your friends and neighbors, the vast music community in Asheville and greater WNC came together with countless benefit concerts and fundraiser album compilations (Caverns of Gold, Cardinals at the Window) — an effort that remains at the forefront of the region’s recovery that will take years, if not decades, to return to normalcy. – Garret K. Woodward
Beyoncé, “Jolene”
Country music is for everyone and there is something fascinating about an album which ends up in the territory between categories. Beyoncé is a great singer, and has been flirting with country for a very long time; she has the chops to sing “Jolene” better than Dolly. So, when she sings that she’s “still a Creole banjee bitch from Louisiana,” she is making a series of arguments: that country exists in response songs; that the other woman should be given the mic; that the landscape mirrors the territory; and that the gatekeepers should be torn down, like the walls of Jericho. – Steacy Easton
February 4, 2024 – Tracy Chapman & Luke Combs, “Fast Car”
Luke Combs released his version of Tracy Chapman’s “Fast Car” in 2023, but it was his performance with Chapman on the 2024 GRAMMY Awards primetime telecast that rocketed the song from country radio back into the mainstream zeitgeist. Where Combs’s recording highlighted the song’s working-class vibes, seeing him perform it alongside its (Black, queer, female) writer gave the song’s legacy even greater heft. “Fast Car” was always a song about women carrying more weight than any single human can; about the urgent, nagging desire to flee toxic cycles; about how fleeting freedom can sometimes feel. For better or worse, all these things became emblematic of 2024. – Kim Ruehl
Rhiannon Giddens
You would be hard-pressed to cite anyone in any genre who had more memorable musical moments in 2024 than the superb vocalist, composer, and instrumentalist Rhiannon Giddens. Her writing brilliance was showcased through the Silkroad Ensemble group and project. Her arrangements of folk songs were part of their landmark American Railroad tour program along with commissioned pieces from jazz artist Cécile McLorin Salvant and film composer Michael Abels, as well as fellow Silkroad artists Wu Man, Layale Chaker, Haruka Fujii, and Maeve Gilchrist. Giddens was featured on banjo and viola on the hit single “Texas Hold ‘Em,” part of Beyoncé’s huge Cowboy Carter LP. Giddens added another GRAMMY nomination for Best American Roots Performance with “The Ballad of Sally Anne” from the excellent compilation My Black Country: The Songs of Alice Randall, too. Hard to believe there’s any ground left to cover for the MacArthur Genius and Pulitzer Prize winner, but Rhiannon Giddens continues to stun and surprise audiences with everything she does. – Ron Wynn
November 14, 2024 – Zachariah Hickman’s Power Outage Party! at Club Passim, Cambridge, MA
Not sure how bassist and music director Zachariah Hickman (Josh Ritter, Ray Lamontagne, Barnstar!) pulls off his many acts of mischief, but the Power Outage Party! shows are the most creative, beautiful, and emotional musical experiences around. Presented in mid-November by Club Passim, the shows featured a collective of musicians (including members of Della Mae and Session Americana) and guests (this year including Taylor Ashton, Mark Erelli, and Kris Delmhorst) performing without any power in the historic 100-seat club in Harvard Square. The band is lit with camping lanterns and tea lights. The audience is shoehorned in so tight (I was nearly sitting on the cello players’ lap) that you can’t help but feel a part of a very special community. Every time I go, I carry the experience and inspiration with me as we all work through the darkest part of the year. – Cindy Howes
February 24, 2024 – Kaia Kater, “In Montreal” at Folk Alliance International
One of my favorite and most memorable musical moments of the year occurred at Folk Alliance International, where Kaia Kater and her band performed tracks from her brand new album, Strange Medicine, at BGS’s private showcase. In a small hotel room with a handful of audience members, Kater began “In Montreal” with her looping, cyclical, trance-like clawhammer banjo groove. I was immediately transported, immediately grounded, gently – and forcibly – brought to the moment. I still experience the same visceral sensation each time I hear this track begin, the old-time banjo hook leaving and rejoining the beat deliciously, sketching out an expansive pocket. This night, in cold Kansas City, Kater was joined by flutist Amber Underwood (AKA Flutienastiness), who was even further transportive and dreamy in her interpretations of the track. It was a transcendent song, a daring banjo-flute dialogue, a mind-blowing mini set, and a perfect harbinger of what Strange Medicine would cure and balm. – Justin Hiltner
June 7-8, 2024 – Laurel Cove Music Festival
The gem of a festival located just north of the Cumberland Gap in Pineville, Kentucky, has fostered several special moments in recent years, but none come close to matching the memories from Wyatt Flores and The Red Clay Strays headlining sets there this past June.
The first came when Flores’ mics were cut off before an encore, leading to his band sitting atop the speakers lining the stage for a crowd sing along to Tyler Childers’ “Lady May” that to this day still gives me goosebumps. But if that wasn’t enough, The Strays topped it the following night when their show turned into an impromptu baptism after people in the crowd began jumping into the shallow pond surrounding the stage during a performance of their hit song, “Don’t Care.”
Both occurrences were pure magic from two of the year’s hottest country-adjacent acts in an intimate setting with only 1,500 people in attendance, showing that even in the age of corporate mega-festivals the best things still do come in small packages. – Matt Wickstrom
Though he was never top of the pops – or even on the charts at all, either solo or with Flat Duo Jets – wildman proto-rockabilly guitarist John Michael Dexter “Dex” Romweber was still an inspirational icon in the roots-rock world and a key influence on major bands like White Stripes and Black Keys. Romweber was just 57 years old when he died from a cardiac event this year, a shocking event that inspired a worldwide outpouring of tributes that went on for days. Maybe the best of all came from Jack White, who was always wide open about the depth of Romweber’s influence on White Stripes. Writing on Instagram, White proclaimed that Dex “was the type that don’t get 3 course dinners, awards, gold records and statues made of them because they are too real, too much, too strange, too good.” That’s the truth. – David Menconi
July 27, 2024 – Langhorne Slim, “We the People (Fuck the Man)” Live at the BGS Jam at Newport Folk Festival
While putting together the set list for the BGS Late Night Jam, “A Bluegrass Situation,” at Newport Folk Festival back in July, our old pal Langhorne Slim suggested a new tune he had just written. Would the house band be willing to learn it for this special occasion? In the words of our jam host and BGS co-founder Ed Helms, the song was an “instant Newport Classic.”
Slim’s new tune, “We the People (Fuck the Man)” – later released on streaming platforms just before the election – echoed through the Pickens Theatre that Saturday night and immediately got the audience on their feet. Its lyrics are as timeless and rallying as any Guthrie tune, but amidst all the declarations against greed and polarization there’s an optimistic plea in the chorus:
So let us love our neighbors Protect the land Look our brother in the eye When we shake his hand It’s been this way a long time It’s hard to understand The time has come for everyone We the people, fuck the man
In these tumultuous times, Slim gave us words (and a performance) we shouldn’t soon forget. – Amy Reitnouer Jacobs
Sam Williams & Carter Faith, “‘Til I Can Make It on My Own”
Sam Williams and Carter Faith drape their fringe-laced voices over Tammy Wynnette’s “‘Til I Can Make It on My Own.” While honoring the song’s 1976 roots, the two rising stars spin their own lonesome and delicate performance that seems to transcend time and place. “Lord, you know I’m gonna need a friend,” they sing, trading stunningly confessional lines and background harmony. “‘Til I get used to losing you/ Let me keep on using you, ‘til I can make it on my own.” Through a honeyed, emotionally resonant arrangement, Williams and Faith demonstrate exactly why they’re among the best of today’s new crop of talent. – Bee Delores
Yasmin Williams, Acadia
The guitar is perhaps the most ubiquitous instrument in the modern world, making it even more notable that a picker like Yasmin Williams could still stake out fresh territory on the instrument, finding and championing her own truly original sound and approach. Acadia is a masterwork, breaking still new ground after Williams’ incredibly successful 2021 album, Urban Driftwood. While Acadia isn’t exactly a reinvention for the picker-composer-innovator, it does limitlessly expand the acoustic universe she’s been fleshing out since releasing her debut, Unwind, in 2018. That’s a fairly short runway for a creative to accomplish so much, especially given Williams seemingly treats her guitars as brand new devices each time she picks them up to compose. The results are often bafflingly, jaw-dropping, and dramatic – but always musical and ceaselessly inspiring. – Justin Hiltner
Photo Credit: Tracy Chapman live on the 2024 GRAMMY Awards; Kaia Kater by Janice Reid; Langhorne Slim with Ed Helms at Newport Folk Festival by Nina Westervelt.
Each year, the BGS Team likes to “wrap up” the year in music by featuring holiday, seasonal, and festive tunes and songs throughout the month of December. It’s a perfect way to generate holiday cheer while shining a light on some of the high quality new – and timeless! – seasonal music we’ve got playing on repeat each winter. And, it gives us the chance to infuse our veteran/stalwart holiday playlists with some new life, too.
This year, we’ll be sharing songs, albums, shows, and events each day for the first three weeks of December, a musical bridge to bring us to the peak holiday season, the end of one year, and the beginning of another. Check back each day as we add more selections to these weekly posts, highlighting roots music that will soundtrack our solstice, Christmas, Hanukkah, Kwanzaa, and New Year.
Artist: Tim O’Brien & Ben Winship Song: “Santa Ate a Gummy” Release Date: November 22, 2024
In Their Words: “Hope you enjoy this video for my new single with Tim O’Brien, ‘Santa Ate a Gummy’ animated by Peter Wallis.” – Ben Winship, via social media
“Share away! It is sure to put a much needed smile on your faces. Thank you Ben for taking me on this trip with you.” – Tim O’Brien, via social media
From The Editor: “Let’s follow in Santa’s footsteps on this one, for a perfect way to close BGS Wraps for 2024 and really enter the holidays, full plunge. Multi-instrumentalist and singer-songwriter Ben Winship joins forces with bluegrass legend Tim O’Brien on a hilarious and charming new holiday single they co-wrote, ‘Santa Ate a Gummy,’ about an extra exciting and dreamy Christmas Eve journey for the ol’ Kris Kringle. Sugar plum fairies may be dancing in his head, but that toy-making-season backache must surely be on retreat. As we move into the holiday break, take a page out of St. Nick’s playbook – got a headache? Need a moment of chill? Consumerism wearing you out? Wrapping paper cuts riddling your fingers? Pop your favorite THC or CBD treat, sit back, relax, and put on ‘Santa Ate a Gummy’ on our BGS Wraps playlist. And we’ll see you in January. Happy Holidays!”
Artist: Zach Top Song: “Hard Candy Christmas” Release Date: November 17, 2023
In Their Words: “Tis officially the season! Go stream the Christmas hits!” – Zach Top, via social media
From The Editor: “One of our favorite Good Country artists of 2024, Zach Top often delights his fans and followers with incredible covers of country standards and hits on his social media feeds. This short cover of ‘Hard Candy Christmas’ has more than 2.1 million views since it was posted at the beginning of this month. We can see why! Just over a minute of the iconic holiday country number – popularized by Dolly Parton – has us immediately returning to his 2023 single release of the song. (We wouldn’t have survived without a full rendition!) The picker-singer-songwriter and ’90s country time capsule has certainly been one of the major music stories of the year, with a grassroots, ground-up following hellbent on loving the honesty and ease of his trad sounds. Check out our GC interview with Top from earlier this year as we crank the classic country Christmas vibes on the stereo. We’ll be fine and dandy…”
Authentic Unlimited, “Christmas Time Is Here”
Artist: Authentic Unlimited Song: “Christmas Time Is Here” Album: Christmas Time Is Here Release Date: November 15, 2024
In Their Words: “A Christmas song is like wrapping up a warm memory, ready to be shared with the world. In true Authentic Unlimited fashion, we unwrap our musical gift to listeners, hoping it brings joy and a touch of holiday spirit to every heart.” – Jerry Cole, bass, via press release
From The Editor: “Reigning IBMA Vocal Group of the Year Authentic Unlimited released their first full-length Christmas album in November. Christmas Time Is Here features an array of covers, from veteran classics to modern hits, rendered in the group’s clean, crisp, signature sound with those striking (award-winning!) vocals. The title track is beautifully done, with mandolin trills to emulate Vince Guaraldi’s twinkling piano keys and acrobatic, jazz fiddle licks inserted tastefully just like the iconic original recording from A Charlie Brown Christmas. Sure, this doesn’t listen like Authentic Unlimited’s standard, largely traditional bluegrass fare – for one, there’s piano, and the track does sounds perfectly suited for wafting through a JCPenney – but the album’s polish and shine certainly serves the season. And there’s still plenty of ‘grassy grit to go around.”
The Wildwoods, “Somewhere in the Snow”
Artist: The Wildwoods Song: “Somewhere in the Snow” Album:Christmas Through the Years (EP) Release Date: November 19, 2023 (single); November 29, 2024 (EP)
In Their Words: “Ladies and gentlemen! Our Christmas EP, Christmas Through the Years, is now available on all streaming platforms. … Celebrating the holiday season with an original Christmas song captured on our favorite AEA mic.” – The Wildwoods, via social media
From The Editor: “Diehard fans of Nebraska-based Americana trio The Wildwoods will remember this strikingly lovely song, ‘Somewhere in the Snow,’ from 2023, when it was first released as a single and animated video. This year, they’ve released the track on an equally lovely EP, Christmas Through the Years, accompanied by a few tasteful and unique covers of holiday classics, too.
“The group’s brand new live performance of ‘Somewhere in the Snow’ shines bright through the winter cold, lush and warm, shot in a beautifully reverby church sanctuary decorated with twinkle lights and a festive wreath. Their tight vocal harmonies and lonesome (or perhaps winsome) chord changes bring that slight existential tinge we know and love in stalwart Christmas songs and traditional carols. It’s a fresh take on the idea of snow and winter as purifying, cleansing, and a transformative time of year – especially as we all look ahead to 2025 and what the new year might bring. Let’s bury our troubles somewhere in the snow? Sounds like a great idea to us.”
Shane Pendergast, “Winter Grace”
Artist:Shane Pendergast Song: “Winter Grace” Album: Winter Grace Release Date: November 22, 2024 (single); January 2025 (album)
In Their Words: “It was such a liberating and joyous feeling, as if we were skating on the world’s biggest rink. Wintertime on [Prince Edward] Island can be so stifling, so it was a gift to be able to get outside for a skate.” – Shane Pendergast, via press release
From The Editor: “Each winter, it’s a bit of a brain teaser or a musical sudoku puzzle trying to find festive, wintry, holiday-themed songs that aren’t just about Christmas. We want holiday music for everyone, after all! We especially crave music for those of us reaching, ever-so-longingly, for solstice and the eventual lengthening of the days.
“We were very excited, then, to discover Shane Pendergast’s ‘Winter Grace,’ released late last month. The title track for his upcoming album, dropping in January 2025, ‘Winter Grace’ is cozy, warm, and enveloping. It’s a tender paean to Prince Edward Island that has a timeless production style, as if plucked from late ’60s or early ’70s folk songs of the Atlantic seaboard. A perfect soundtrack for your ice skating date – whether on a plastic public square rink, slipping and sliding on dull skates at a shopping mall, or speeding off on wild Canadian ice.”
Music has and continues to be a form of healing for Fancy Hagood. The Arkansas-raised singer who takes his forename from the Drake song – not the Bobbie Gentry and Reba McEntire hit – first began writing songs as a queer junior high student struggling to fit in before dropping out of school at 17 to chase his newfound dreams in Nashville.
Despite growing up listening to everything from contemporary Christian music to The Chicks, Shania Twain, Tim McGraw, Destiny’s Child, and Missy Elliott, it was choir and theatre that brought Hagood’s own creative aspirations to life.
“I really found myself in those classes,” Hagood tells Good Country. “I was dealing with a lot of bullying at the time and writing music became one of the few ways I could truly express myself.”
But upon his arrival to Nashville, Hagood was told that a career as a queer country musician was unlikely. This was followed by a move to Los Angeles, coupled with a transition to pop, that led to him to opening for the likes of Meghan Trainor and Ariana Grande as he juggled a day job at Forever 21. Those opportunities coincided with a decrease in creative control over his own work, something he’s taken back for himself on 2021’s Southern Curiosity and his most recent project, American Spirit, which released October 25.
“I was hell-bent on this album not being a breakup record, but instead one about healing, moving forward, and finding yourself,” Hagood says of American Spirit. “I don’t want to be on the road singing songs about my ex, but I do want to sing about reclaiming your story, bouncing back, and that being the most powerful thing after experiencing something like that.”
Speaking on the phone from his Nashville home, Hagood detailed his ambitious Music City move, experiences with gatekeeping, his work with Apple Music, and more.
What was it like for you moving to Nashville so young? I imagine on one hand it’s quite empowering, but it can also be overwhelming too.
Fancy Hagood: On my song “Fly Away” I sing, “You were scared as hell to take the highway/ You barely knew how to drive…” and that’s the truth. I got my driver’s license when I was 16 and I never drove on the highway until I moved to Nashville, so it was very much a culture shock. I know a lot of people don’t view Nashville as a big city compared to New York or Los Angeles, but when you’re coming from small-town Arkansas it felt like the whole world had opened up for myself. There were parts of it that were really intimidating, but for the most part I had so much enthusiasm that you couldn’t really tell me anything. I had this idea that I was going to be a country superstar and you couldn’t tell me otherwise.
I know things haven’t always been easy for you though. You’ve dealt with some gatekeeping and other hurdles along the way. What’s that been like?
Before I moved to LA, I was getting all this attention in Nashville, selling out shows on my own. A lot was going on for not having any music out in the world yet. I quickly got a publishing deal, but instead of things taking off from there I started getting a bunch of people putting their own opinions on me and putting their own stuff into my music, thus limiting me because of their own fears. That was something I never had going into all of this – fear. It’s a complicated thing when you start mixing art and commerce. The powers that be recognize you have talent, but in figuring out how to make money from it they start thinking of Middle America and who’s going to buy it, leading to a fear game rather than just letting the artist be an artist.
When I moved to LA and got a record deal, that’s where other people’s fears began sinking into my own train of thought and my delusion began slipping away. I was accomplishing all these things, from performing on Dancing With the Stars to hitting the road with Ariana Grande, but on the inside I felt miserable. I realized I’d sacrificed so much of myself and my art to get to a place where other people found it comfortable for me to be successful, but a year and a half into it I just imploded and lost all the deals.
It wasn’t until moving back to Nashville in 2016 that I was able to shake all that off. In 2018 I signed a new publishing deal and began work on my album Southern Curiosity, a slow burn that didn’t release until 2021. It was a really difficult transition having [to go from] a Top 40 hit and everyone treating you like you’re the king of the castle to no hits, no deals, and nobody wants to touch you with a ten-foot pole. It was a humbling experience that taught me that the industry in place was not set up for someone like me to be successful. Because of that, my train of thought stopped being about how do I fit into the industry to thinking about how to create my own, which is exactly what I’ve been doing since Southern Curiosity.
One way you’ve been building that community you speak of is through your role as the host of Trailblazers Radio on Apple Music. What’s that gig meant to you?
I’ve never experienced a company that puts their money where their mouth is quite like Apple. They were supportive of me and my first record before hosting a radio show was even a thought. They first came to me after I guest-hosted on the late Leslie Jordan’s Apple Radio show, which I did three or four times with him. After that, they approached me with the Trailblazers idea and threw me into the deep end. When they offered it to me in 2021 I’d never done radio before and just recently we were picked up for our fourth season. My idea is to feature artists who don’t typically get those opportunities, allowing country music to be for everyone. If you look at our playlist you’ll see all kinds of artists on there, not just what country radio suggests Nashville is.
It’s also been meaningful getting to sit across from actual legends and people who have shattered the glass ceiling in country music. Each artist that’s come through our doors has taught me that not one artist’s journey is the same, which has done a lot for inspiring, motivating, and informing me as an artist.
Are there any particular moments or guests from the show that stand out?
I’d never met Jelly Roll before he came in for his interview and his heart just blew me away. Who he is at his core is so full of joy and his philanthropic side was really inspiring to me. He had just sold out Bridgestone Arena and donated all the money to an organization that helps incarcerated youth. Even when we weren’t recording he was wanting to know more about me, my art, and what I do. He’s just a stand-up person.
A moment ago you mentioned Leslie Jordan, whose loss you touch on (along with your grandmother’s) on the song “Good Grief.” I guess that goes back to songwriting being a method of healing?
Yeah, it came about during a writing session with my friend Jeremy Lutito on a particularly solemn day. We were both in sad moods, but in typical fashion when two guys are alone in a room the last thing they’ll do is ask, “What’s on your heart?” We got to talking about a situation with his family where their dog had passed away the night before, which led to a conversation about grief and having to walk his kids through it for the first time. As he was telling me this I just fell apart thinking of how grief is such a hard thing to come to terms with and reckon with, but sometimes it’s ultimately a good thing. We’d been struggling all day, but that song came about in only an hour or so. It was pure magic.
I’ve seen you refer to this album as a “breakup record,” and I feel like one song that really captures that essence is the title track, “American Spirit.” How’d it come about?
I wrote that with Gina Venier and Summer Overstreet. It started with this idea of cigarette season or a time in your life where you’re smoking and stressed. But with Gina, who’s also a queer artist, it evolved into a song about becoming someone else’s vice. It’s not an unheard-of story in the South, people not being able to fully speak to who they are or how they feel – there’s a lot of closet cases among us. I’ve dealt with that a lot in my time in Nashville and I know others have, too. The song is mostly a nod to those experiences and being an openly queer person dealing with others who aren’t open but are addicted to your openness and freedom and not being able to let that go.
What has music taught you about yourself?
It’s taught me that I’m resilient and can get through anything along with the power of believing in yourself. I’ve gone through a lot in this industry, but I keep coming back. This is what I love and I’m never going to stop.
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2024 served up a treasure trove of great music books – too many to encapsulate in a concise way. However, it’s still worth a try! So, here is a look at some notable books (in no particular order) that should hold an appeal to the BGS community. This baker’s dozen hopefully provides a diverse and interesting sampling of what has been published over the past year.
There are biographies of superstars like Joni Mitchell and Dolly Parton alongside important if underappreciated figures, such as guitarist Jesse Ed Davis and the Blind Boys of Alabama. Look into the lives of bluegrass icons Tony Rice and John Hartford led by those that knew them while Joan Baez, Lucinda Williams, and Alice Randall each released memoirs that told their life stories in fascinating ways.
There are books here, too, that examine sub-genres like the world of busking and the outlaw country movement, as well as scenes from the musical history of Greenwich Village and the story of a little-known but significant music project that was part of FDR’s New Deal.
There’s a little something for everyone, whether for your holiday shopping list, your winter break stack of books “to be read,” to use up those bookstore gift cards, or for your 2025 resolution to sit down and read more.
2024 was a big year for Joni Mitchell, with her captivating appearance at the GRAMMY Awards representing another major milestone on her amazing recuperation from her 2015 brain aneurysm. NPR music critic (and occasional BGS contributor) Ann Powers extensively examines the many sides of Joni Mitchell in this stimulating and provocative book. Powers makes it clear from the get-go that she isn’t a biographer and compares her work here to being like a mapmaker. It makes total sense then that Powers entitled the book Traveling. The word not only references Mitchell’s tune “All I Want,” but it also reflects the numerous paths that Mitchell has traveled down during her long, storied career – a journey Powers incisively and insightfully explores over the course of some 400-some pages.
Dolly Parton’s White Limozeen by Steacy Easton (Bloomsbury)
Steacy Easton followed up their Tammy Wynette biography, Why Tammy Matters, by tackling an even larger female country music icon: Dolly Parton. Part of the acclaimed 33 1/3 book series, this compact tome focuses on Parton’s popular 1989 album White Limozeen. Easton views it as a pivotal work for Parton as it represented a triumphant rebound from her roundly disappointing 1987 release, Rainbow. Besides delving into how the Ricky Skaggs-produced White Limozeen found Dolly returning more to her country roots from the more pop-oriented Rainbow, Easton also uses her album as something like a prism to look at Dolly’s wildly successful career and her iconic persona.
Don’t Tell Anybody the Secrets I Told You: A Memoir by Lucinda Williams (Crown)
Fans of Lucinda Williams’ songs may think they know her through her lyrics, which are often drawn from Lu’s own experiences. Williams’ memoir, however, reveals more about her extraordinary life than even her deeply felt lyrics have expressed. The book is especially strong in covering her quite turbulent childhood involving her father Miller Williams (a poet/professor long in search of tenure) and her mother, Lucille, who suffered from manic depression. Fittingly, Williams prefaces her book by listing the many places where she lived (a dozen before she was 18) which reflects her rootless childhood and set her up for a home in the Americana music pantheon. While the title suggests a racy tell-all, the book feels more like having the great pleasure of listening to Lucinda intimately tell stories from her life – what more could you ask for?
Washita Love Child: The Rise of Indigenous Rock Star Jesse Ed Davis by Douglas K. Miller (Liveright)
Jesse Ed Davis is a name that probably is not familiar to most music fans. Lovers of ’70s rock might recognize his name as a guitarist who worked with the likes of Taj Mahal, Eric Clapton, Neil Diamond, Ringo Starr, John Lennon, and George Harrison (Davis performed at the fabled Concert For Bangladesh). Those who know him from those gigs, however, might not even know that Davis was a rare Native American in the rock ‘n’ roll world. He only really made his Indigenous heritage prominent when he teamed with Native American poet/activist John Trudell during the ’80s in the Graffiti Band. Sadly, Davis’ career was derailed due to alcohol and drug abuse, which also led to his death in 1988 at the age of 48. In this vividly told biography, Douglas K. Miller, a professor of Native American History at Oklahoma State University, turns a spotlight on this ground-breaking and underappreciated musician.
Down On The Corner: Adventures in Busking & Street Music by Cary Baker (Jawbone Press)
For his debut book, longtime publicist and journalist Cary Baker turned to a lifelong music interest of his: street musicians. Early on in this book, he relates the transformative moment when, as a teenager, he was taken by his father to Chicago’s famous Maxwell Street where he saw bluesman Blind Arvella Gray perform on the street. This experience not only led to his first journalism work, but it also launched a love for street music. His enlightening book, which is broadly divided geographically, profiles buskers from across America and Europe. Down On The Corner is populated with colorful characters like Bongo Joe, Tubby Skinny, and Wild Man Fischer along with well-known musicians, such as the Old Crow Medicine Show, Rambling Jack Elliott, Billy Bragg, Fantastic Negrito, and Peter Case, who share tales about playing on the streets.
My own memories of John Hartford are of him playing on Glen Campbell’s TV show. He seemed so cool and laidback – and he could play banjo with lightning-fast virtuosity. Happily, Bob Carlin has more interesting memories about the legendary musician, and he comes to this book from a pretty unique perspective. Carlin first met Hartford when he interviewed him in the mid-1980s for the radio program Fresh Air. Carlin (himself an award-winning banjoist) later performed with Hartford and even became his de facto road manager. In his book, he deftly balances his background as a journalist and position as a longtime friend in telling the story of Hartford, who was a true crossover star bluegrass musician of his time.
Like Bob Carlin with John Hartford, Bill Amatneek has a privileged perspective when it comes to writing about his subject, the late, great Tony Rice. Amatneek, a musician as well as writer, spent several years playing with Rice in the David Grisman Quintet. Rice was one of the best-ever flatpicking guitarists (and a terrific vocalist) whose career was undercut by illnesses and his own personal demons. Amatneek constructed his book as an oral biography, built around stories told to him by fellow musicians who knew Tony, like Sam Bush, Béla Fleck, Peter Rowan, and Jerry Douglas along with Rice family members, allowing readers to discover the bright and dark sides of this bluegrass master.
Talkin’ Greenwich Village: The Heady Rise and Slow Fall of America’s Bohemian Music Capital by David Browne (Hachette Books)
As its title plainly states, Talkin’ Greenwich Village discusses the renowned area of New York City that has been a center for bohemian arts culture for decades. The book can be described as a “biography” of both the people (Dave Van Ronk plays a prominent role throughout this story) and the places (particularly the clubs, such as the Bottom Line, Kenny’s Castaways, Gerde’s Folk City, and the Bitter End) that populated the Village’s music scene from 1957-2004. (Browne here basically concentrates on the West Village.) The author of books on the Grateful Dead, CSN&Y, and Sonic Youth, Browne does a masterful job at bringing this neighborhood to life during its many eras. The Village holds a special place in Browne’s heart; he discovered the neighborhood as an undergrad at NYU just as the new folk scene of the early ’80s was brewing. His passion shines through in his storytelling.
My Black Country: A Journey Through Country Music’s Black Past, Present, and Future By Alice Randall (Simon & Schuster)
You may have already heard about Alice Randall and her book right here, on BGS and Good Country. My Black Country has received great acclaim (NPR listed the book among its “Books We Love” for 2024) and justifiably so. An author, professor, and songwriter, Randall tapped all her talents in creating this inspiring work that addresses her life story and investigates the history of Black country music, which she traces back nearly a hundred years to when DeFord Bailey performed on Nashville’s WSM radio station. It should be noted, too, that this isn’t just a Nashville-centered book; it explores Black country music made all across America. Besides enjoying Randall’s literary creation, you can also enjoy her songwriting craft too; Oh Boy Records released an eponymous compilation of Randall-penned tunes interpreted by such artists as Rhiannon Giddens, Allison Russell, Valerie June, and Leyla McCalla. (Of which, Giddens’ performance of “The Ballad of Sally Anne” is nominated for a GRAMMY for Best American Roots Performance.)
Spirit of the Century: Our Own Story by The Blind Boys of Alabama & Preston Lauterbach (Hachette Books)
The Blind Boys of Alabama are a remarkable story. Remarkable in the sense that the vocal group came into existence around 1940 at the Alabama Institute for the Negro Deaf and Blind and made their way out into the world through the gospel music circuit. And it is remarkable, too, that the Blind Boys of Alabama not only remain a group today (they describe themselves as the “longest running group in American music”), but they have earned five GRAMMYs (and a Lifetime Achievement Award) as well as an NEA National Heritage Fellowship. Preston Lauterbach (author of books like Beale Street Dynasty and The Chitlin’ Circuit) has done an eloquent job weaving together stories from band members and other musical colleagues, and turning them into this absorbing biography.
Willie, Waylon and the Boys: the Ultimate Outlaw Country Primer by Brian Fairbanks (Hachette Books)
This book is something of a biographical combo platter. The first nine chapters concentrate on the “Mount Rushmore” of outlaw country: Willie, Waylon, Johnny, and Kris. Those 240 pages are packed with colorful tales of the foursome, whether on their own or together as the Highwaymen. At that point, the book pivots and explores outlaw country’s legacy in the form of the alternative country scene that was burgeoning during the ’90s, as the Highwaymen were ending their run (their third, final, and least successful album came out in 1995). Fans of alt-country and “new outlaw” artists might wish for a deeper dive into this scene. The chapter on “The New Highwaymen” (built upon the idea of guys like Chris Stapleton, Jason Isbell, Ryan Bingham, and Sturgill Simpson as a new outlaw quartet) feels a bit too speculative. Fairbanks, however, is on stronger footing with his “Highwaywomen” chapter, which looks at the actual supergroup collaboration of the Highwomen, featuring Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires that, among other things, countered the male dominance of the original outlaw movement.
A Chance to Harmonize: How FDR’s Hidden Music Unit Sought to Save America from the Great Depression—One Song at a Time By Sheryl Kaskowitz (Pegasus)
This is a book for history buffs who love music – and vice versa. Author Sheryl Kaskowitz (who previously wrote a book on the history of the song “God Bless America”) has dug up the story on a little-known music unit that was part of the New Deal. This U.S. government program led by Charles Seeger (yes, the father of Pete) sent out musician/agents (noted American ethnomusicologist Sidney Robertson was one prime participant) to gather up folk songs around the country. The goal was to use these songs to build community spirit at homestead communities launched by federal government under the auspices of the Resettlement Administration. The projects were considered radical and controversial back then and, consequently, were very short-lived. Fortunately, however, more than 800 songs were recorded and have been stored away in the Library of Congress.
When You See My Mother, Ask Her to Dance by Joan Baez (David R. Godine)
Joan Baez spent over 60 years making music and touring. While she has basically retired from music, Baez hasn’t put an end to expressing her creativity. In 2023, she released a book of drawings and in 2024, she published this book of poetry. There are at least a couple of notable aspects to this poetry project. Baez has long been known more for being an interpreter of songs rather than a songwriter, so it is intriguing to see more of her writer side expressed in this collection. Also, she has struggled with dissociative identity disorder (AKA multiple personality disorder, a topic addressed in the powerful documentary Joan Baez:I Am A Noise). Baez candidly states in the Author’s Notes that some of the poems are “are heavily influenced by, or in effect written by, some of the inner authors,” adding intriguing layers to her creative process – which she displays through the pieces collected in this book.
“I like to say my music is mixed, like me,” laughs Julie Williams, a queer, biracial Nashville-based songwriter who happens to be one of the strongest new voices to emerge in country music this decade. “I grew up loving ‘90s country, but before I moved to Nashville I didn’t necessarily think I could make that music. I didn’t think I had a place in the genre. I had so many other influences too – like the Indigo Girls, James Taylor, and other folk music – so I thought that would be more my world. But the song that changed everything for me was ‘Southern Curls.’ I was like, whoa, this is undeniably a country song, and it feels more like me than anything else I’ve ever written.”
Released back in 2021, “Southern Curls” was a breakout single for Williams and continues to inform her subsequent work in a lot of ways. Like many of the best country songs, the track flirts with an existing trope while flipping it entirely on its head, invoking the texture of her own Black hair as a foil to disrupt the traditional image of coiffed ringlets favored by white southern belles. Williams uses her hair as a gateway to discuss the still prevalent differences between how Black and white women are treated in this country, particularly in the South, and opens the conversation with a matter-of-fact account of her personal experience.
It’s a simple, riveting song, intimate and singular, but also broad enough to provide desperately needed representation for a whole diaspora of Black female artists who, like Williams, have had a hard time making space for themselves in the predominantly whitewashed genre of mainstream country. Almost immediately, the track earned the attention of fellow Black country artist and Apple Music host Rissi Palmer, who named Williams to her 2021 Color Me Country cohort, and also caught the ear of the Black Opry, who invited the young artist to join the collective on stage and on tour in 2022.
Following this up with a self-titled EP in 2023, an appearance on a PBS special about Black women in country, and a performance at Newport Folk Festival, Williams joined the CMT Next Women of Country Class of 2023. Now, she’s touring behind another new EP, Tennessee Moon, which includes a new version of the impactful song. Williams is excited about the prospect of expanding her sound – and her writing voice – even further.
“‘Southern Curls’ gave me the bravery to write songs that feel authentic to me,” Williams says. “From there, I’ve been really lucky to work with some incredible people, like my partner Jonathan Smalt, who produced my new EP, Tennessee Moon. This is a big release for me in that it feels like an arrival.”
Another part of that feeling? Williams and “Southern Curls” were featured prominently as part of a new documentary on Hulu, It’s All Country, which features legends like Luke Combs, Wynonna Judd, and Sheryl Crow, plus a never-before-seen performances from Williams herself.
While out on tour behind Tennessee Moon, which released in October, Williams called in to speak with Good Country from the road. She talked about her experience shifting from the world of public policy to the music industry, all things ’90s country, navigating the bounds of folk and other genres in her sound, and those deeply felt, close friendships that might have always been more than… just friends.
What was your relationship to country music like when you were growing up?
Julie Williams: My mom used to play a lot of ‘90s country in the car, artists like The Chicks, Shania Twain, Trisha Yearwood, and Sara Evans – but especially The Chicks. I’ve been thinking a lot about them recently, especially in the last few weeks [since the presidential election]. A huge part of my musical introduction was around the time when The Chicks were kicked off country radio. Their song, “Not Ready To Make Nice,” I remember my mom explaining the lyrics to me. That was really where my love for storytelling and lyrics came from.
I noticed the lyrics in your songs right away, they’re not filler or frivolous, they’re stories.
I always thought people would only want to listen to me if I was playing the songs they already knew and loved. Once I started writing, I realized my stories have value. Growing up in Florida, I’d sing covers of Jimmy Buffett and Tom Petty, whatever songs I thought would get me the tips from the snowbirds. I didn’t go to school for music, I went to Duke University and studied public policy. I wanted to work for a non-profit and become a lawyer. But we had a student record label I was a part of, Small Town Records, and that was the first time I got the chance to start writing my own songs. I started to see the power in my own story.
How did you make the jump from studying public policy back into music?
I wanted the work I did to make somebody’s life just a little bit better, but I didn’t realize I could do that with music too. Some of the things I cared a lot about, too – issues of race, queer issues, and women’s issues – how do you get people to care about them? Part of it is through telling stories that move people. I soon realized I didn’t have to sit behind a desk all day and be a policy analyst. Music can also get me in spaces and in front of people that I wouldn’t be around.
Is there an artist who has a career path that you’d like to follow in the industry?
I’ve always been such a fan of Kacey Musgraves and the way that she’s always stood up for what she believes in. She’s never backed down in that, and she’s always put herself in her songs. Part of it is about love and heartbreak, but it’s also about following your arrow, and being yourself. Even the ways in which she’s created a whole new sound in country and in folk with Golden Hour. I fell in love with that album when it came out. I’ve always looked up to the way she can capture the simplest feelings of being a human in her songs.
How do you feel about your music as country or as folk? There are so many other elements to it, and you have a very layered, textured sound.
I have so many influences that aren’t from country, but pairing all of those things creates that mixed sound that really feels like me. As an artist, I’m constantly thinking about “How am I going to market this?” or “What genre is this going to be in?” and that can sometimes feel limiting. I don’t think my music would fit into a traditional pop-country radio sound, but I don’t think it fully fits into other genres either. I’m just trying to make what feels good for me.
How does Tennessee Moon fit into your current discography? It feels like another level.
It’s definitely a big release for me. That’s a testament to being here in Nashville for a few years and trying things out. Every time I put out music or write a song, I hope there’s going to be better ones that keep coming. “Tennessee Moon” was a really special one for me. It started with a film photo that I took of an ex while we were kayaking at Percy Priest lake at sunset. That relationship didn’t work out, but I took the photo to a co-write with a friend of mine, Melody Walker. I said, “I want to write a song that feels like this picture,” and I knew everything else was going to be around that song.
“Just Friends” is another one of my favorite songs on Tennessee Moon, and it seems like so many people relate to the experience of the blurred line between best friends and something more. How did it feel to address that?
I wrote this one with Melody Walker as well and it’s also one of my favorites. I love women, and I realized that I can love anyone regardless of their gender identity. I came to that realization in my twenties, but now that I know who I am – and who I love – I was looking back at a specific friendship of mine. Retrospectively, I realized I had a crush on this person. I was in love with this person. But getting the chance to create a pretty sapphic music video felt like ripping the band-aid off as far as talking about my queer identity in my songs. I hadn’t done that before. I’m really excited to write and put out music freely now.
Photo Credit: Chase Denton
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