Tag: Adele

Artist of the Month: I’m With Her

Posted on by Justin Hiltner

Do you remember the human being you were in 2017? When the “first” North American total solar eclipse of the 2000s criss-crossed the United States, stunning millions of sky-gazers? Do you remember how dissimilar life felt then? When you look back, do your memories contain the same person you are now, or is there a vast difference between who you were then and who you are today?

In 2017, I’m With Her – an iconic assemblage of award winning roots musicians Sarah Jarosz, Aoife O’Donovan, and Sara Watkins – were already a band, but a tangible group identity had yet to fully coalesce – and external viewers, listeners or fans or industry professionals, couldn’t tell if this was a temporary “supergroup” or something greater and long-lasting. Yes, they first collaborated as a trio in 2014 at Telluride Bluegrass Festival and their chemistry, musically and otherwise, was immediately palpable. They wrote, toured, and released music together in 2015, 2016, and 2017, appearing on Prairie Home Companion, Live From Here, and festival and venue stages all across the country and around the world. “Crossing Muddy Waters,” a John Hiatt cover and their first release together under the “I’m With Her” moniker, was released in ’15; “Little Lies” followed in ’17. Then, their acoustic cover of Adele’s “Send My Love (To Your New Lover)” performed live with Paul Kowert on tour with Punch Brothers became a smash viral hit later that same year, barely a month after the moon then blocked out the sun.

By all measures, I’m With Her were a very different group 8 to 10 years ago. Neither Watkins nor O’Donovan were yet mothers. The trio had not yet been nominated for a GRAMMY (“Call My Name” would snag a gramophone for Best American Roots Song in 2020). They wouldn’t put out their debut album, See You Around, until 2018. Yet today, on the precipice of what is somehow only their sophomore album, Wild and Clear and Blue (out May 9 on Rounder Records), whether deliberately looking back or relying solely on one’s memories and recollections, it might seem like I’m With Her has always had this outsized presence and impact in bluegrass, folk, and Americana.

Auspiciously, the celestial and grounded, fantastic and natural Wild and Clear and Blue was tracked in New York State coincidentally during/under the more recent total solar eclipse of 2024. The track of that heavenly alignment almost directly crossed the studio where the trio were crafting the new album with producer Josh Kaufman (Bonny Light Horseman, the National). Leave it to the stars, the universe, and these three otherworldly musicians to convene to build yet another masterwork under such an unlikely omen as an eclipse. The results are truly magical. O’Donovan, Jarosz, and Watkins are already writers and pickers who draw heavily on the natural world, the earth, and their own bodies, hearts, and minds not only as intellectual tools, but also as biological beings to fashion their particular style of roots music. It’s difficult not to see how the ’24 eclipse – along with their journeys together over the last decade – greatly informed this new collection.

Solidarity, women uplifting women, motherhood and family, communion with the world around them, connection to nature, challenging the painful realities of our current day-to-day, and – perhaps above all – convivial, heartfelt fun run through Wild and Clear and Blue like shimmering, cosmic rays of light. Where their past releases together have been quite stark and stripped down, often utilizing only as many voices and instruments as the trio themselves could wield in realtime, Wild and Clear and Blue is expansive, confident, and bold. Are these the same humans who first began creating together only just over a decade ago?

Of course not. None of us are the same beings we were back then. Certainly not I’m With Her. They’re GRAMMY winners now, all three married and beginning families, O’Donovan and Watkins by now veteran moms. They’ve had multiple eras together as a band and multiple solo releases unto themselves, individually, too in the meantime. The miles have sped away underneath their feet as they code switch between being an ensemble and being individual artists – while racking up accolades, awards, and listeners as a collective and separately, too. They’re seen alongside other so-called supergroups like boygenius, Bonny Light Horseman, and more; not as novelties or accessories to the “real” artistry of their constituent work unto themselves, but as a sum greater than their parts. Rightfully so!

How lucky are we to be witnesses to that growth, to each of these women’s ceaseless commitment to challenging themselves – and their communities – to move forward, to crest that next mountain, to sculpt that as-yet-undiscovered song from shapeless musical clay? How lucky are we that these three women bathed in the ancient, timeless light of a solar eclipse and alchemized their experiences into this resplendent album?

The path of this incredible trio, unlike the planets in the sky, has been anything but linear – or concentric, or predictable. Still, there’s endless insight and so much joy to be gained from inhabiting this intersection, the confluence of so many occurrences: the trajectory of the group; the track of a total solar eclipse; the Wild and Clear and Blue writing and recording sessions; the terrifying and shocking burning of our planet; the rapid return of abject fascism in this country; the consideration of how to be artists – family members, mothers, community builders – amid all of these realities. It’s a bewildering intersection, but one we’ve all become undoubtedly familiar with since 2014… since 2016…  since the sun disappeared in 2017 and 2024.

Wild and Clear and Blue is a soundtrack for togetherness. For being present. For capturing the infinitesimal moments that make life what it is. It’s no surprise I’m With Her were able to create such an awe-inspiring and heartening second album with these celestial (and terrestrial) ingredients. It’s impeccable roots music made for bathing in the ancient light, for standing at the fault line, for staring into the wild and clear and blue with courage, with love, and with songs.

I’m With Her, for the very first time, are our Artist of the Month! Dive into our Essentials Playlist below and make sure to spend time with our exclusive interview with Jarosz, O’Donovan, and Watkins on the making of the project. Plus, Watkins is a guest on Basic Folk talking about the album this month, as well – and you can listen to archive episodes with Jarosz and O’Donovan, too.

And, we’ll be dipping back into the BGS archives for all things I’m With Her throughout the month of May! Each of the trio’s members have been featured as AOTM individually and/or in other groups and we have plenty of playlists, articles, interviews, and even Sitch Sessions to return to featuring their supreme talents. Buckle up for a transcendental Artist of the Month celebration.

Photo Credit: Alysse Gafkjen

BGS Bytes: Your Roots Music Social Media Round Up

Posted on by Justin Hiltner

Welcome back to BGS Bytes, our monthly column designed to spare you the scroll and key you into the most notable roots-related social media posts! From birthdays to tributes to the dawning of festie season, we’ve got something for everyone. Check out these buzzworthy and viral internet moments from Randy Travis, Molly Tuttle, Chris Eldridge, the Brothers Osborne, and more.

AI Gives Randy Travis’ Voice A Second Chance

@randy.travis Randy’s fans and their desire to hear his voice again inspired Randy to make “Where That Came From” a reality with the help of his team. We are blessed to share this moment with you. Your love inspires Randy to keep on going! Thank you for singing along, always. – Team RT #CountryMusic #NewMusic ♬ Where That Came From – Randy Travis

In 2013, Randy Travis suffered a major stroke following his hospitalization for cardiovascular issues, resulting in aphasia that severely diminished his capacity to speak and sing. Devastated, the world thought Travis might never sing again — until just a couple of weeks ago.

Working alongside Cris Lacy, a co-producer from Warner Music Nashville who previously produced Travis’ music, and Travis’ longtime producer Kyle Lehning, a small team of songwriters, musicians, and computer programers put together a new song for Travis, “Where That Came From.”

The track uses scratch vocals laid down by singer James Dupre, which were then filtered through an AI system informed by dozens of sound bytes from Travis’ catalog. Through trial and error, Lehning and engineers worked to ensure that the song seamlessly evoked Travis’ essence. Travis and his wife, Mary, are absolutely elated by the results, calling the experience “magical,” “beautiful,” and “overwhelming.”

Stevie Wonder Celebrates His 74th Birthday by Becoming a Citizen of Ghana

On May 13th, the legendary Stevie Wonder celebrated his 74th birthday while attending a ceremony that granted him Ghanaian citizenship. The first African country to become independent in 1954, Ghana has historically been an epicenter for many African Americans disenchanted with rampant anti-Blackness in the states. In 1975, Wonder began to dream about moving to Ghana to reconnect with his ancestral roots. Though he reconsidered, remaining in the U.S. to record his lauded Songs in the Key of Life, his 50-year dream came full circle this month.

He spoke on the monumental nature of this moment in his speech at the ceremony, stating, “Now, as a Ghanaian citizen, I am committed to fulfilling the dream we’ve cherished for so long — uniting people of African descent and the diaspora.”

Chris Eldridge Pays Homage To His Father, Ben Eldridge

Throughout its history, bluegrass has been well known as an intergenerational genre, passed down through familial, social, and geographical lineages. One glowing example is Chris “Critter” Eldridge (widely known for his role as a vocalist and guitarist with Punch Brothers) and his father, Ben Eldridge, who sadly passed away on April 14th of this year.

In a beautifully written tribute, Chris speaks about Ben’s incandescent banjo playing, the cultural significance of his band the Seldom Scene within the bluegrass and folk landscapes, Ben’s uncanny knack for mathematics, and his beautiful heart. A legend of his time, Ben will be missed greatly and forever revered.

DelFest Turned into Adelefest

Memorial Day weekend was a legendary one at the 16th annual DelFest, a four-day bluegrass festival taking place alongside the verdant mountains and flowing Potomac river of Cumberland, Maryland.

Listeners were in for a treat when the ethereal Sierra Ferrell came out to join Lukas Nelson’s set with the Travelin’ McCourys for a few songs. Among them was a cover of Adele’s hit, “Someone Like You,” infused with all the melancholy that a little country twang can offer. During a backstage pre-festival rehearsal, Lucas posted a Reel to warn Adele, “You’re going country whether you like it or not!”

Molly Tuttle Pays a Visit to Her First Martin

 

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A post shared by Molly Tuttle (@mollytuttle)

In this sweet and heartwrenching post, Molly Tuttle, queen of flatpicking, tells the sweet story of her first Martin guitar. Penny by penny, she saved up enough at the ripe age of 12 to purchase her very own Martin. It is now on display at the Musical Instrument Museum in Phoenix, Arizona, alongside instruments from musical giants like John Hartford, Elizabeth Cotten, Earl Scruggs, Mississippi John Hurt, and more.

AJ Lee & Blue Summit Release New Single, “He Called Me Baby”

A song that has lived many lives, AJ Lee & Blue Summit put their own spin on the classic, “He Called Me Baby.” Written by Harlan Howard, the song was most commonly sung as “She Called Me Baby” until Patsy Cline covered it in 1963. Throughout its history, it’s shifted through many genres and forms, perhaps most notably becoming a Top Ten R&B hit in 1971 with Candi Stanton’s recording.

The Brothers Osborne Guest Judge on RuPaul’s Drag Race

@brothersosborne Temporarily trading in our guitars 🎸 for the judge’s panel on @RuPaul’s Drag Race #AllStars9 ♬ original sound – Brothers Osborne

And, being that we’re a few days into June, we simply must include a quick Pride Month teaser! This past week, brothers TJ and John Osborne, most commonly known for their country duo The Brothers Osborne, were featured as guest panelists in Season 9 of RuPaul’s Drag Race All Stars. This iconic crossover is the perfect kickoff to a month sure to be filled with reminders of the inextricable weavings of queer culture and roots music.

Photo Credit: Randy Travis by Marisa Taylor; RuPaul’s Drag Race All Stars production still courtesy of QPrime.

MIXTAPE: Mick Flannery on Melody and Meaning

Posted on by Justin Hiltner

Most songs stay in one musical scale or “key.” In this key there are 6 chords which are widely used. The 1 chord is the root chord, usually used to end the song and give a definite feeling.

Chords 2 and 3 are sad sounding minor chords in most cases. Chord 4 and 5 often give a feel of expectation to the ear, willing the melody back to the root (1) chord. The 6 chord is a relative minor to the root, often sad sounding.

In my opinion, some of the most successful moments of empathy occur when the feel of the chords and melody marry in harmony with the meaning of the lyrics. The lyrics themselves can also provide a musical feeling, the choice of vowels can marry to emotions, the consonants selected can give a nod to drum-like rhythm. I will try to give some examples here. – Mick Flannery

Bob Dylan – “Changing of the Guards”

Dylan uses a mixture of metaphors for social struggle and revolution in this epic song. The frequent use of the root chord and its relative minor at the end of phrases helps to add weight to the lines. This gives the song a definite feel, as he is ending on these strong chords as opposed to chords 4 or 5, which suggest a question unanswered.

Bob Dylan – “Baby, Stop Crying”

An example of melody marrying to feeling. The line, “Please stop crying,” is expressed with a longing in the melody concurrent with the meaning of the words. Also, “You know, I know, the sun will always shine” has a comforting feel in the melody with the word “shine” being on the root chord, helping it to sound definite and consoling.

Adele – “Someone Like You”

The top of the chorus in this song works very well between meaning and melody. The word “nevermind” is dismissed in quick order, as it would be in common parlance, giving a natural, talkative feel. The internal rhyme of “mind” and “find” gives a rhythmical feel to the line as a whole, allowing the listener to imagine a snare sound on the “I” vowels. The use of this internal rhyme makes the song universally easy on the ear, even to non-English speakers.

Lana Del Rey – “Video Games”

“It’s you, it’s you, it’s all for you, everything I do…” This whole line is placed on a 5 chord, which gives a feeling of something needing to be resolved, so the listener doesn’t know if the narrator is placing her trust in the right place.

“I tell you all the time” lands on a 4 chord – again, an expectant feel – making the listener wait for the line, “Heaven is a place on earth with you” landing on the 1 chord. This gives a definite note to the feeling, but narratively the listener is still left unsure if the feeling is requited, owing to the amount of time spent on uncertain footing in the melody.

Arctic Monkeys – “Fluorescent Adolescent”

The quick, rap-like nature of the verses are aided by the use of short vowels (“I” “E”) and short-sounding consonants like “T” and “K.” The line, “Flicking through your little book of sex tips,” almost sounds like a rhythm played on a high-hat, because of the choice of words.

Tom Waits – “Martha”

The chorus here leans on long vowels to intone nostalgia, “Those were days of roses, poetry and prose and… no tomorrow’s packed away our sorrows and we saved them for a rainy day.” The choice of words echoes a longing and almost sounds like a groan of regretful realization, as per the theme of the song.

Blaze Foley – “Clay Pigeons” 

In this soft and low intoned song, Foley utilizes “T” and “K” with short vowels to inject a spot of rhythm in the line, “Gonna get a ticket to ride.” The line, “Start talking again when I know what to say,” lands on a 4 chord which has an unresolved feel, marrying well to the meaning of the line, wherein we hear that the narrator has not yet reached a certain point.

Anna Tivel – “Riverside Hotel”

“Someday I’m gonna laugh about it, looking down from heaven’s golden plain,” moves from the 4 to the 1 and then 4 to 5. “Someday” marries nicely with the unresolved feel of the 4 chord. Ending on the 5 leaves the listener waiting for a resolve, which comes on the root chord in the line: “But for now I’ve found some piece down by the water, just to watch a building rise up in the rain.” This line uses a root chord on “for now” which gives a reassuring, steady feel concurrent with the sentiment.

Anna Tivel – “The Question”

The title of this song in itself sets the listener up for an unresolved feeling. The use of long “A” sounds (razor, saved, saving, hallelujah waiting, raise, etc.) leading up to the line, “A prayer that never mentioned,” works very well, as it sounds like an expectant chant. On the last words, “The glory of the question and the answer and the same,” the word “glory” lands strongly on the sad sounding relative minor chord, while the line ends on an expectant 5 chord. This gives a juxtaposition, the narrator has seemingly answered a question, but also left it open to further thought because of the use of this uncertain chord underneath.

Eminem – “Lose Yourself”

This song is a masterclass in internal rhyme. The lines of the verses are so phonetically intertwined that they begin to sound like the components of a drum kit. This is easy for the human ear to digest even in an unknown language. The fact that the lines make perfect sense narratively is the “icing” achievement.

Tom Waits – “Hold On”

Long vowels in the chorus marry to the meaning of patience and perseverance. In meditation, long vowels are used in calming chants, which is echoed here in the repetition of  “Hold on.” This feel is broken up slightly by the words “take my hand” where Waits accentuates the “T” and “K” to give a burst of drum-like rhythm.

Photo Credit: Susie Conroy

LISTEN: Danny Burns Ft. Tim O’Brien, “Someone Like You” (Adele Cover)

Posted on by Editor

Artist: Danny Burns
Hometown: Residing in Nashville, TN
Song: “Someone Like You” feat. Tim O’Brien
Album: Promised Land
Release Date: October 21, 2020
Label: Bonfire Music Group

In Their Words: “The idea to record Adele’s ‘Someone Like You’ came from a conversation when we were down in Mexico chatting with Ethan from the label. At that point we were about to go back into the studio in Nashville to track a full grass record live. I’ve always loved this Adele song, too. Fast forward, and things were starting to get back to normal, so we began recording. I got in touch with Tim who is one of my favorite singers and musicians, ran the tune by him, and he sang on it beautifully. It’s always a great honor to work with Tim. We also got Scott Vestal on banjo, Billy Contreras on fiddle, Ethan Burkhardt on upright bass, Matt Menefee on mandolin and Tony Wray on guitar.” — Danny Burns

Image courtesy of Bonfire Music Group

Jamie Dailey’s Vision for Dailey & Vincent is Bigger Than Bluegrass

Posted on by Editor

Dailey & Vincent, the Nashville-based band led by Jamie Dailey and Darrin Vincent, is among the most honored acts in all of bluegrass. They’ve won multiple IBMA and SPBGMA Awards, had all nine of their records crack Top 10 on Billboard‘s bluegrass albums chart and, since 2016, they’ve been full-fledged members of the Grand Ole Opry.

Their newest release is 2018’s The Sounds of Christmas, which they’ll be supporting on tour this month. As our December Artist of the Month, BGS caught up with each frontman separately before they hit the road, starting with Jamie Dailey.

(Editor’s Note: Read our interview with Darrin Vincent.)

BGS: Where do you think The Sounds of Christmas ranks in your catalog?

Dailey: Well, it was something seeing it between Michael Bublé and Pentatonix in the Top 10 of the holiday chart, and it stayed up there for several weeks. It really is just about my favorite of all the records we’ve ever done – just the quality of the vocals. It’s bragging, I guess, but it’s the best-sounding vocals we’ve ever recorded, for sure.

I am of course a lover of Christmas music, and also Christmas. I grew up in a very modest family that couldn’t afford a lot, but we always put up a tree and had Christmas lights all over the property. Mom still cooks a big traditional American family Christmas meal. You’d think my mom would be used to it by now, but I like to sneak into her kitchen, highjack her laptop and put something crazy on Facebook. That’s always fun. One time a couple of Christmases ago, her preacher was calling within 10 minutes to ask if she was OK. I could hear her: “WHAT?! Jamie, I am gonna KILL you!”

It’s time for another record, what’s the story on the next one?

We just signed our first country music deal, with BMG, to do a country album. We’ve never done one so we’re very excited about that. We’ve said from day one that we never wanted to be boxed in and we wanted to write and play and sing and record whatever we wanted. We’re working with Keith Stegall, who has produced Zac Brown, Alan Jackson, and a whole bunch of others. We just signed a new TV deal, too, to do a more mainstream TV show than what’s been on RFD all these years.

Out of all the awards you’ve won, which one means the most to you?

Hands down for both of us, joining the first family of country music in the Grand Ole Opry. It’s only 200-some members and 84 of us still living, so it’s very special to be part of that family. We work the Opry six to nine times a month between tour dates, which makes us busy, but we’re happy to be there. It’s always a joy. Hard to explain the feeling you get when you’re there.

Before Dailey & Vincent, you spent almost a decade in Doyle Lawson’s band. What’s the most valuable thing you learned from him?

How to be a constant road professional, and how to be more consistent onstage and not just listen to yourself, but to your fellow bandmates to make up a well-oiled unit. He’s a good man. The lessons were priceless. And if you’ve ever led a group, you also learn things you don’t want to do. As leaders, we all run across those times when you’re trying something that doesn’t work.

You did the IBMA keynote speech last year, on “Branding Bluegrass.” What do you think that is?

We live in the most interdependent age in history. Everyone has the ability to reach more people than ever before. We all have to figure out ways to become more involved. I’d tell young musicians to stay absolutely focused and follow your heart. Record labels and managers are right about a lot, but not always about everything. So don’t allow yourself to be led down a road you don’t want to be on. Be persistent and aware, and learn as much as you can to stay up with what’s going on.

The Dailey & Vincent brand is bigger than just bluegrass, which we make no bones about. We’re gospel and country as well as bluegrass, and we’re happy to do all of that. You can tell from the TV show and the Opry, we’ve tried to diversify our craft to get into buildings we would and could not have before. We’ve been blessed to perform at Carnegie Hall three years in a row, which would not have happened if we were doing only bluegrass.

What do you tell people who want to go into the music business?

The business is changing constantly, so you have to stay on top of that. Living in this interdependent world, it’s like there are a lot more nets than walls and you can reach a lot more people. We’re artists, so let’s make music, let those who like it find it and cater to them.

Some years ago, a lot of bluegrass festivals were kind of stagnating without a lot of growth. So we decided to pull back and go into more venues on our own to draw our own crowds and grow that way rather than getting beat over the head for not fitting some narrow mold. We did not want to be in that box, so that’s some of the changes we’ve made the last eight years — out of 12 going on 13. That’s what we’ve done and why we’ve done it, and it’s had tremendous impact on our career and vision.

Who among your peers do you admire and enjoy?

I love Keith Urban, what a good guy and a great musician and singer. Very creative. I love Norah Jones and Adele, too. The music I listen to ranges all over. Sinatra and Tony Bennett, too. I love orchestras and symphonies, and go to [the symphony] in Nashville when I can, and it’s what I listen to when I’m reading. I love going back to Guns N’ Roses and Journey as well as Conway Twitty. It’s a broad list.

You participated in some diplomatic missions to Germany and Switzerland a bit more than a decade ago. How did that happen?

It was terrifying in some aspects, but I learned a lot from my dear friend now passed, U.S. Ambassador Faith Ryan Whittlesey. We met at Yeehaw Junction, a bluegrass festival in Florida, when her daughter took her. I was with Doyle at that time, 23 or 24 years old, and I’d been praying for the Lord to use me to help my country because I regretted not joining the military.

So we do this show and her daughter came up afterward to say she wanted to meet me. Sure. “Hi, Jamie, I’m former Ambassador to Switzerland, on the U.N. Security Council.” My eyes are getting bigger and bigger. “I need you to travel with me to do some diplomatic work. Use your country bumpkin charm, sing a song here and there, and engage with foreign and business leaders.” I almost passed out.

But she called the following Monday morning and I started flying to D.C. and New York every few months to learn table etiquette, receiving-line protocol and things like that. She was stern and very, very formal. But after she saw how stupid I can act, I got to know her enough to break into her humorous side. I started traveling with her to Switzerland and Germany to participate in some things, which was a wonderful experience I’ll cherish the rest of my life.

Do you have any interest in going into politics someday yourself?

At one time, maybe so. But the more I see of what goes on, especially these days, not so much. I believe I can be more effective where I am in my career than in political office, where you have to deal with incoming fire and problems that weigh you down and keep you from doing things. But I can move in and help without having to worry about the politics and trash that goes on now.

I’ve been asked, but no. Maybe later in life, if a president I can believe in strongly wins and I get involved, maybe I’d consider being Ambassador to another country for a few years. But who knows. There’s a lot to it, and a lot can happen. I may end up dying from too much chocolate.

Illustration: Zachary Johnson
Photo: Erick Anderson