Artist name:Amanda Anne Platt & The Honeycutters (answered by Amanda) Hometown: Asheville, North Carolina Latest singles: “Desert Flowers” and “There May Come a Day” Personal nicknames (or rejected band names): I was in a band with my brother and my cousin when I was 8 that was called Crusty Chinchilla Rejects Recently Escaped from a Mental Institution…
What’s your favorite memory from being on stage?
I feel really lucky as I sit here and try to work out what my favorite memory of being on stage is… it’s nice that there have been so many. I think one of my favorites from recent memory was the last show of our 2019 tour opening for Amy Ray. It was at Club Café in Pittsburgh and I got to get up on stage for her last song, “I Didn’t Know a Damn Thing,” which is one of my favorites from her album Holler, and then the encore which was Tom Petty’s “Refugee.” I was enormously pregnant and the stage was already crowded so it was a tight squeeze! But I felt so cool just getting to sing along and dance. The energy in the room was fantastic.
What other art forms — literature, film, dance, painting, etc — inform your music?
Probably literature and film, the most. When someone can tell a story in a highly relatable, moving way, I am very inspired by that. When I finish a good book or leave the theater after a really well-made film I almost always want to sit down and write a song.
What rituals do you have, either in the studio or before a show?
I really enjoy making my band “quack” like the Mighty Ducks, but I would be lying if I said they were as into it as I am. And you can’t do it alone. So, mostly I just cry in the bathroom. Actually I am usually just scrambling to write a set list and eat something moments before we go on stage.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
I grew up in the land of all-night diners, and I’ve really been missing that especially now during the pandemic. So I would love to have a post-show burger at a proper diner somewhere… I feel like John Prine would have been a great guy to share a booth at a diner with. I have some questions for him about his songs that I kind of always hoped I’d have a chance to ask him in person.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
I might actually do the reverse more… I tend to always use “I” even though I don’t write autobiographically very often. So in that way I guess I turn every character into “me” and I hide myself in that way…?
Artist:Dave Alvin Hometown: Downey, California Song: “Man Walks Among Us” Album:From an Old Guitar: Rare and Unreleased Recordings Release Date: November 20, 2020 Label: Yep Roc Records
In Their Words: “Marty Robbins, despite his 40-year, highly successful musical career, remains an underrated songwriter (he wrote “El Paso,” one of the greatest songs in American roots music history, and was a huge influence on me and many other aspiring songwriters). “Man Walks Among Us” is a good example of his serious lyrical and melodic talents. Born and raised in Arizona, he celebrates the desert environment he obviously loved and treasured. Being a desert lover myself, when I first heard this song, I was thrilled that Marty Robbins shared my appreciation for the wildlands and had put my feelings into a song. Even though I don’t possess Mr. Robbins’ incredible vocal skills, I always wanted to record this bittersweet rumination on the love for and the potential loss of our beautiful, tough yet fragile Western deserts.” — Dave Alvin
As a teenager, Philadelphia native Ray Benson fell hard for traditional American roots music and by 1970 he’d become the founding leader of a nimble, road-rambling band called Asleep At The Wheel.
After a stint in California, they found their natural home in Austin TX and became icons of the scene there, while reaching the world as modern day masters of western swing music. This Fall, Austin City Limits aired a special featuring performances by the band from its very first show in 1976 until present day. We talk about an iconic 50 year career in country music.
For the first time, we are so excited to bring to you the BGS Radio Hour in podcast form! Since 2017 the BGS Radio Hour has been a weekly recap of the wonderful music, new and old, that we’ve covered here on BGS. Check back in every Monday to kick your weeks off with the best of BGS via the BGS Radio Hour.
Highly awarded modern blues artist — and our current Artist of the Month — Shemekia Copeland brings us a new release, Uncivil War, offering us a number of topical songs with perspectives on gun violence, LGBTQ+ rights, and more.
Leyla McCalla (who you may know from folk supergroup Our Native Daughters) brings us a song from her new Smithsonian Folkways re-release, Vari-Colored Songs: a Tribute to Langston Hughes.
Madison Cunningham is back on BGS with a brand new EP, Wednesday, an interpretation of a handful of cover songs chosen by the California-based singer, songwriter, and guitarist.
Everyone’s favorite roots music brothers — that is, the Avett Brothers — are back with The Third Gleam, a follow up to the first and second Gleam EPs. Much like their earlier sounds, the new record is stripped down, with timely discussions of gun violence, mortality, and the human condition. Check out our conversation with Scott, Seth, and Bob Crawford.
Denver-based singer-songwriter Jeff Cramer brings us an edition of The Shed Sessions along with his band the Wooden Sound, and a wonderful tribute to the late, great John Prine.
Pop string band Mipso is just one of so many great North Carolina groups that we’re proud to feature this month in our Made in NC playlist for #NCMusicMonth!
Julian Taylor was the guest of honor on our most recent episode of Shout & Shine, a series that serves as a platform for Black, Brown, Indigenous, Asian, LGBTQ+, and disabled musicians, who are so often marginalized in genres to which they’ve constantly contributed.
Quintessential banjo legend Tony Trischka was featured this week with a new single from his 2021 release, Shall We Hope, that also features Irish singer Maura O’Connell.
“For our 2017 record Other Love Songs, we made the decision to record using only acoustic instruments and our voices with almost no additional production. That’s how we’d been playing live up until that point and we wanted to capture the sound we’d been working on as an acoustic unit. Soon after we found ourselves stepping outside the acoustic box and experimenting with the overall sonic picture of what we were presenting live. Roscoe (Adam Roszkiewicz) and I began using more effects pedals and started playing through amps. Melody began playing percussion and after the addition of the pandeiro (a handheld Brazilian percussion instrument that can sound very much like a small drum kit), “Front Country music,” as we like to call it, began to evolve.
“As we began writing and arranging for the album that would become Impossible World, we made the decision not to put any limitations on production in the studio and found a producer (Dan Knobler) who could help us realize the sonic vision we were working on. This was basically a 180 from our previous record and it was very exciting! However, when any band takes a big leap forward musically, I often wonder what were some of the musical influences that helped inspire this transformation. So here is a collection of music each of us was listening to during the process and how these tracks helped inspire what we all brought to this record. For anyone who’s been following us for a while or maybe had a different impression of the band before hearing this new music this will help answer the question: ‘How did they get there!?'” — Jacob Groopman, Front Country
Brandi Carlile – “The Joke”
One of the most undeniably heartrending songs of the last decade, this song encapsulates Carlile’s emotionally earnest yet epic songwriting style. The way she wears her heart on her sleeve and doesn’t mince words has really inspired me to try and cut to the core with my own songwriting in the past few years. — Melody
Peter Gabriel – “Sledgehammer”
This track actually came up several times while we were arranging the songs for the new album, for the neo-soul vibes, the approach to instrumental hooks and, you guessed it: counterpoint. — Adam
HAIM – “If I Could Change Your Mind”
This first album from HAIM is full of throwback ’80s pop perfection and super catchy songwriting. I think their approach to dense, multi-layered backing vocal parts really influenced the harmony arrangements I did for the poppier tunes on Impossible World. — Melody
King Crimson – “Three of a Perfect Pair”
Intertwining themes and counterpoint have always been a big part of the FroCo sound and that approach was directly influenced by King Crimson and this track in particular; also we covered it on our Mixtape EP in 2016. — Adam
Los Colognes – “Flying Apart”
I came across this album randomly right as we were about to start working on the music for Impossible World and fell in love with the ’80s-meets-modern vibe. The use of electric guitar on this track had direct influence on what I brought to the table for a few of the tracks on Impossible World, especially “Miracle.” — Jacob
Paul Simon – “She Moves On”
From Graceland‘s Brazilian-themed follow up album The Rhythm of the Saints, this track is smooth and spooky in its trance-inducing worship of the dark, sacred feminine. The verse vibe of the song “Mother Nature” was loosely inspired by this one. — Melody
Lau – “Toy Tigers”
Lau is a band from Scotland that has successfully melded electronic elements with Scottish folk music and the result is something truly mind-blowing. They have become one of my all-time favorite bands. — Jacob
Muna – “Never”
I was also listening to a lot of electro-pop and aside from Muna’s production being on point, the level of risk they take in the instrumental section of this track is excellent. — Adam
Tame Impala – “Yes I’m Changing”
Kind of an ironic title for the purpose of this article, but the Tame Impala album Currents from 2015 was a big influence on creating a big sonic landscape that still completely serves the song and doesn’t overshadow it. I’d like to think we achieved this on a few tracks on the record. — Jacob
Queen – “I Want To Break Free”
I grew up on Queen’s tight aesthetic and Freddie’s vocal virtuosity, and while this is may be their most compact pop track ever, it’s edited economy inspired our arrangement of our song, “Real Love Potion.” — Melody
Squarepusher – “Welcome to Europe”
Continuing with the counterpoint theme, I was listening to a ton of electronic music while we were making the new album and this track exemplifies how you can have multiple hooks supporting each other throughout a track. Also, I love big jumps between notes in my hooks and get a lot of inspiration from tracks like this. — Adam
Dawes – “Telescope”
After we recorded the first half of our record early in 2019 I found myself listening to the Dawes’ Passwords from 2018 a lot and particularly this track. I love how the song has this slow build and new musical elements are constantly introduced throughout to keep it moving forward. It could be something really tiny that has a big impact on how the song moves. — Jacob
Artist:Josh Merritt Hometown: Owensboro, Kentucky Song: “Tonya Jo” Album:Reynolds Station Release Date: November 20, 2020 Label: JNM Entertainment
In Their Words: “I wrote this song for my momma. This album spotlights a not-so-flattering time in her life, which she has long since moved past. The song is about coming of age, a nest that’s almost empty, and looking back on the ups and down of life so far and wondering what’s next. It’s a message to say, ‘Everything is — and forever will be — ok.'” — Josh Merritt
In October, outlaw country badass Sturgill Simpson expanded his already broad musical palette with the surprise release of a bluegrass record. The 20-track album, aptly titled Cuttin’ Grass Vol. 1: The Butcher Shoppe Sessions, is a return to roots for the singer-songwriter, whose prior endeavor could be described as nothing short of a roaring rock album.
After breaking the mold with Sound & Fury (which was released as a visual album, with an accompanying Netflix anime film), Simpson’s pivot back to more of a traditional-sounding record exemplifies his creative prowess and artistic boldness. Truly beholden to no rules, Simpson does things his own way, sparing no means to create a bluegrass record that honors the traditions of the genre. The album was cut as naturally as a bluegrass album is expected to be and features an all-star band with musicians like Sierra Hull and Stuart Duncan gracing the songs.
Released in October on High Top Mountain Records, Cuttin’ Grass also comes after a livestreamed bluegrass concert Simpson organized as a charity event and broadcasted from the mother church, the Ryman Auditorium in June. On a Veteran’s Day episode of The Late Show With Stephen Colbert, Simpson and Co. safely performed “Breakers Roar” from the Station Inn in Nashville. Watch the performance and check out his interview, too.
Kenneth Pattengale and Joey Ryan from the Milk Carton Kids are back with another episode of their socially distant video show, Sad Songs Comedy Hour. In their 17th episode, they bring on Watchhouse’s Andrew Marlin and Emily Frantz for an insightful conversation about all things. From the election and life in isolation to creating in stressful times, these four provide some interesting food for thought. As the show name would infer, there’s the odd joke here and there, but the episode concludes with a beautiful collaboration on Watchhouse’s “Wildfire.”
The hosting duo says, “We FINALLY got our act together to sing with Emily and Andrew, and it was worth the wait. Great talk too, as they’re deep thinkers, generous players, incisive songwriters. Hope we didn’t ruin their ‘Wildfire’ tune. As always, please support NIVA — the National Independent Venue Association — because they’re supporting all of us.”
Like a beloved book or your favorite podcast, Sad Songs Comedy Hour will surely put a smile on your face and glow with warmth and familiarity. Check out the new episode, and hear their collaborative version of “Wildfire” below.
Editor’s Note: This post has been updated to include Mandolin Orange’s new band name, Watchhouse.
Artist:Leyla McCalla Hometown: New Orleans, Louisiana Latest album:Vari-Colored Songs: a Tribute to Langston Hughes (reissue)
What’s your favorite memory from being on stage?
My favorite memory from being on stage was at the New Orleans Jazz and Heritage Festival in 2019. To be clear, New Orleans shows are always my favorite shows. People LOVE music in New Orleans and the connection you feel with the audience is transcendent. I have played Jazzfest almost every year since 2012, but 2019 was the first year that I got to play the Fais Do-Do stage. I invited Topsy Chapman and her daughters Yolanda and Jolynda to sing with me, which was a total trip, because I had never had background singers on stage with me. I also invited my friend Corey Ledet, the accordion dragon, to play on a couple of songs and the addition of accordion to the sound of my band is something that I continue to long for. We all left that stage flying high.
What other art forms — literature, film, dance, painting, etc. — inform your music?
I am deeply inspired by what I read. Something about reading words on a page and the mindfulness that it takes to absorb that information inspires me to write music. Perhaps it’s the quietness of that activity that helps me to hear music. While I really enjoy biographies, I also love poetry and the rare novel.
What was the first moment that you knew you wanted to be a musician?
I studied classical music very seriously from the age of 12 to 15 and was determined to make a career out of my cello playing. But the moment that planted the seed for the musician that I am today happened when I was 18 years old. I met my teacher and mentor Rufus Cappadocia, a phenomenal cellist who plays a self-designed five-string cello, at a party in Brooklyn. He was playing with a band called the Vodou Drums of Haiti. This experience absolutely blew my mind. Seeing the cello in that context instantly changed the direction of my musical pursuits and gave me a sense of possibility of what cello playing could be outside of the classical context.
What’s the toughest time you ever had writing a song?
The toughest time that I ever had writing a song happened with the song “I Knew I Could Fly.” I had been playing the guitar riff for the song for years, always struggling to figure out what the words, if any, should be to the song. Every path I went down felt insincere and I laid the song to rest several times before bringing it to the Native Daughters session in Breauxbridge, Louisiana. Alli Russell helped me to talk out my idea, which led to a breakthrough and we ended up co-writing the lyrics to the song and recording it the next day. I’ve always been surprised and pleased that of all of the songs on the Songs of Our Native Daughters album, that song ended up with the most plays.
If you had to write a mission statement for your career, what would it be?
I believe in the power of music as a healing force. I use the process of making music to understand the world that we live in and to direct my own healing. I share that process to connect with people and to aid in our collective healing. I am committed to understanding the role that history plays in creating our reality and how music can help us to process our emotions and increase our empathy for each other.
Flatpicker David Grier and his band have missed the stage in recent months, itching to perform with the regularity they once did. Luckily, the good folks at Nashville TuneStream have given them a stage from which they can perform safely and deliver their golden musical product to audiences around the world.
A weekly residency was established for Grier and co. at the livestream production company earlier this year, and we at BGS have been watching. If you haven’t yet had the privilege of seeing David Grier work his magic live, we strongly encourage you to do so at the next safe opportunity — though streams will certainly stand in until that point! A purist and traditionalist of sorts, Grier isn’t quite a household name, but you’d be hard-pressed to find a better flatpicker in the world. As a testament to his musicianship, Grier’s band is always loaded with heavy-hitting instrumentalists, this time including Stuart Duncan, Casey Campbell, Dennis Crouch, and renowned virtuosic guitarist Tommy Emmanuel.
Emmanuel leads the band through Merle Haggard’s “Workin’ Man Blues.” The train gets off to a powerful start, but Grier and Emmanuel derail the ensemble and venture off into a delightful guitars-only playground near the song’s end. During this pseudo-guitar duel, the rest stop entirely and share laughs with one another, as amused as we viewers at the mini guitar hero battle. The David Grier Band is scheduled to perform weekly for Nashville Tunestream, so watch this performance as a teaser and, if you can, support the band by tuning in!
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