Alaska is an incredible melting pot for artists. Despite our sparse population, we are filled with wonderful creative types and a bustling music scene. Lots of our music and tradition stems from bluegrass and string music, the roots of which can be seen in so many of our incredible acts. As a band, we seek to celebrate our state and our scene, both of which are thriving and yet largely ignored by the lower 48. – Blackwater Railroad
“Heirlooms” – Josh Fortenbery
Josh’s new album is so immediately captivating. His voice is incredible, the instrumentation divine, and his songwriting is top notch. You can lose yourself instantly in the images he paints in your mind. He’s also part of Muskeg Collective, a Juneau-Based supergroup of folk musicians.
“Call Me a Fool” – Erin Heist
Erin is also part of the Muskeg Collective and another great example of the high standard that Juneau musicians bring to the world. Her smooth voice and raw lyrics speak directly to our hearts. Be sure to listen for the wonderful mandolin work by her husband, Andrew Heist, on this track. Power couple much??
“Sundays” – Wiley Post
We’ve had the pleasure of sharing the stage with these folks a few times now. They have an eclectic indie vibe that is so characteristic of our scene. Enjoy soaring fiddle lines, tasteful piano, and angelic vocals on this one!
“Brand New Love” – Black Barrel & The Bad Men
One of the more recent additions to our Alaskan scene, BB&TBM have hit the ground running. Their debut EP is gold and their live performances are top-notch. They ooze passion in their vocal arrangements and instrumentation. Their songs get stuck in my head constantly. I would not doubt big things to be coming to these (really good) Bad Men.
“Sink or Swim” – Zen Trembles
Becky Kotter has one of the most unique approaches to guitar and music that I’ve ever seen. She uses multiple capos and open tunings, playing entirely by ear to create her special brand of folk. Her voice is so nuanced and creative and every song you hear is creative and fresh!
“The Cuckoo” – Annie Bartholomew
Annie B is an undeniable talent. Her songwriting and lyrics resonate so strongly for us, and her aesthetic in general is delightful. Every time I’ve had the pleasure to see her perform live was an enchanting experience. The world needs more Annies!
“Orbiting Things” – Fireweed Fiddle
Ok, ok, yes, Fireweed Fiddle does happen to be our very own fiddle player, Rachel DeTemple. When she’s not sitting in with us all across Alaska, she’s writing brilliant music of her own. Rachel’s new album showcases her wonderful skills as both a singer and a player, all while being wrapped in a perfect folky bow.
“Traveler’s Waltz” – Hope Social Club
This is one of the most iconic acts we have in our state. They have a rich history of incredible music and live performances. Enjoy their entire catalog, and if you’re lucky enough to see one of the few shows they play a year, you’re in for a treat!
“Pray for John” – Roland Roberts
Roland is such a good storyteller. Even without guitar in hand you can listen to him wax poetic about anything. This is a slower tune, brilliant in all respects, but be sure to check out his other tunes for some more upbeat and rocking pieces as well. Roland also helped write one of the tunes on our new album, “Road to Make Believe”!
“Not Over You” – Evan Phillips
This tune has a wonderful vibe. I got to enjoy this one for the first time on a long trip back home in the band van. The dreamlike production paired with nature’s majesty on the highway made for one of the most delightful moments I’ve had in a long time. For a moment, I forgot I was stuck crammed in a van with five other stinky dudes for eight hours. I mean, that’s gotta count for something, right?
“Lucky Tennessee” – Bethlehem Shalom
This is such a cool track by such a creative artist. I think within a few seconds her iconic flavor will pour out of your speakers. A great example of the creative sounds and experiences you can get out of living in our wild state.
“Rock and Roll Man” – Blackwater Railroad
Hey, it’s us! This is the most rock-oriented song on our new album. It also might be the one that was the most exciting to make. The build up at the end features Taylor Vidic on vocals. We turned out the lights in the studio and just asked her to ad-lib based on how the track felt to her. She delivered 1000% and made for what might be the most iconic moment on the album.
“Lonely House” – Steve Brown and the Bailers
This is an awesome tune on the road. Alaska is huge and spread out so we spend a lot of time on the highway. Tunes like this keep the wheels turning and the spirits high. This song gets more and more creative as it evolves, so be sure to keep listening to see what happens. Spoiler: it’s sick.
What a week in music! Not only has our Artist of the Month, Kaia Kater, released her new album Strange Medicine today, but we’ve also got an absolutely incredible premiere round-up filled to bursting with brand new videos, songs, and tracks.
First, there’s transcendent sister duo Rising Appalachia with a James Blake/Bon Iver cover, “I Need a Forest Fire,” and Tim O’Brien pays tribute to iconic folk songwriter Tom Paxton with a song they co-wrote, “You Took Me In.” Plus, don’t miss new songs from Ellorie McKnight, Natalie Spears, and Nick Taylor.
We round out our list with two premieres that debuted on BGS earlier in the week, a new one from Alisa Amador’s just announced album that features Madison Cunningham and Meadow Mountain continue their SkyTheory Sessions series with “Waiting for Tomorrow.”
It’s all right here on BGS and to be perfectly honest, You Gotta Hear This!
Rising Appalachia, “I Need a Forest Fire”
Artist:Rising Appalachia Hometown: Asheville, North Carolina Song: “I Need a Forest Fire” Album:Folk and Anchor Release Date: May 17, 2024
In Their Words: “‘I Need A Forest Fire,’ is our interpretation of a rich and righteous James Blake track. We have been big fans of his artistry and aural weavings for many years and wanted to do a folk rendition of this striking song. The texture of its sounds stretch far and wide in atmospheric rhythms as well as the lyrics and it took some deep digging to conceptualize what Blake was perhaps trying to say… Our interpretation is this:
“We live in a time of rapidly destructive (and so often man-made) wildfires in many parts of this planet. Singing a song that says ‘we need a wildfire’ felt cautionary, but enticing, as we explored the many metaphors that ‘forest fire’ could represent. We came to believe it is about the burning of the ego, the take down of destructive habits and destructive relationships, even destructive sides of self. In a time where everyone is on one side of the coin or the other, in a highly polarized nation, a burning symbolizes a great reset. A death and rebirth cycle. We hope you enjoy our take on this track as much as we have enjoyed stretching into its different sounds.” – Rising Appalachia
Tim O’Brien, “You Took Me In” (from Bluegrass Sings Tom Paxton)
Artist:Tim O’Brien Song: “You Took Me In” Album:Bluegrass Sings Paxton Release Date: May 17, 2024 (single) Label: Mountain Home Music Company
In Their Words: “Jan and I came of age listening to and then singing Paxton songs before we ever knew his name. We both learned ‘Last Thing on My Mind’ and sang it around campfires before we met each other. So like a lot of folks, we kinda have Paxton in our musical DNA.
“Tom has been friendly and supportive over the years and in recent years often expressed his desire to write together. With this project, push came to shove and Jan and I wrote ‘You Took Me In’ with Tom on our second session. I had the lyric idea and imagined some Earl Scruggs-style gospel guitar as backing. We had the song in about an hour. When we were done I asked Tom how many songs he’d written that week and he said, ‘I’ve written four songs today!’
“Paxton’s early songs were the kind that sorta begged audiences to sing along. This one reaches in that direction. I love how simple and direct it is. Since that day, the three of us have written another 15 songs, all of which are daring Jan and I to record them, so stay tuned. Songs are like little puzzles that a certain strata of musicians have fun solving. We’re just honored to sit beside Tom, even if only virtually, as he does his masterful thing. He knows to let the song happen. He can pull a lyric from an instrumental riff, he improvises easily, and you can just trust him. When he says to go higher with the melody or go to the four chord, we’re never afraid to follow.” – Tim O’Brien
Track Credits: Tim O’Brien – Guitar, lead vocal Jan Fabricius – Mandolin, harmony vocal Shad Cobb – Fiddle, harmony vocal Mike Bub – Upright bass
In Their Words: “White Pass is a magical, remote mountainous area connecting Yukon’s southwest with Alaska. If you’re driving from Whitehorse, YT to Skagway, AK, you pass through mountains and boreal forest until you reach the Canadian border crossing, after which the road winds through 25km of treeless, rugged alpine terrain before dropping down towards the ocean, where you then drive through the US border and then into the coastal ecosystem of Skagway. There is no reception on this stretch of road and no sign of humans except for the road and the border patrol buildings.
“This part of the world is like a dream in summer: the sound of creeks is loud and the wild blueberries are everywhere. In the winter, the area is mystical no matter the weather, with meters of snow blanketing the valleys and mountains. I was making the trip from Whitehorse to Skagway in the middle of winter one year, late at night, to visit a friend. There was a raging blizzard and snow drifts forming on the road, it was hard to see more than a few feet ahead and the going was slow. I pulled over to catch my breath and stepped outside. The wind was steady and the sharp snowflakes bit into my cheeks. I looked up and was surprised when I saw a waxing moon in a clear night sky just above the fog of the ground blizzard. It was a moment of awe, of wonder, of feeling so intertwined with the earth and yet also so small. The song ‘Whitepass’ tries to capture the many similar moments I’ve felt spending time in this stunning part of the world.” – Ellorie McKnight
Track Credits: Ellorie McKnight – Guitar and vocals Brigitte Desjardins – Drums Jeff Dineley – Upright bass Ryan McNally – Pedal steel and harmonies Kieran Poile – Fiddle
Video Credit: Midnight Light Media
Natalie Spears, “Hymn Of Wild Things”
Artist:Natalie Spears Hometown: Carbondale, Colorado Song: “Hymn Of Wild Things” Album:Hymn Of Wild Things Release Date: May 17, 2024 (single); June 28, 2024 (album) Label: SleeLee
In Their Words: “Early one chilly autumn morning, I awoke to the chortling cries of Sandhill Cranes echoing through our town. Their sound is one like no other, awkward, beautiful, and haunting. It is a sound that we only hear a few times a year as they journey along their migratory path towards warmer shores. Whenever I hear them, I drop everything I’m doing and try to find them. On that particular morning, I got up with my sweet pup and followed their cries to a local nature park near my home. The clouds were sunk low in the valley and although we could hear them close by, we still couldn’t see them. We sat quietly waiting and eventually the sun’s heat lifted the clouds revealing the ghostly shapes of two beautiful Sandhill Cranes. The words to this song began to take shape in my mind and it was then that Hymn Of Wild Things was born.” – Natalie Spears
Track Credits: Written by Natalie Spears (BMI) Produced by Jayme Stone
Natalie Spears – Voice Christine Bougie – Guitars, lap steel Pat Keen – Bass Jayme Stone – Synth, drum programming
Nick Taylor, “Dogs”
Artist:Nick Taylor Hometown: Austin, Texas Song: “Dogs” Album:Not Alone Release Date: June 21, 2024
In Their Words: “As one of the earliest compositions I laid down for the album, it’s personal and cathartic, a reflection of the anxiety that’s been an ongoing part of my persona. Sometimes it gets particularly overwhelming and that’s how this song was born. It speaks to uncertainty — how it manifests, how it’s perceived by others, and how it affects those around us. When we went into the studio to record it, it just came alive. It was important to me to get it out into the world. It’s the song that inspired the album title, Not Alone, but more importantly, it explores topics that society tends to dismiss — especially when it comes to matters having to do with mental health, insecurity and stability. It calls for understanding and in that regard, my hope is that it will help anyone dealing with a similar situation feel less alone.
“‘Dogs’ is such an emotional song, almost a confessional, that we wanted to make sure the video felt personal. Shooting just one scene created a space where the lyrics were being recited directly to the audience and I think that format really works well with the song. Huge thanks to Will and the team for their vision and direction.” – Nick Taylor
Track Credits: Written by Nicholas Taylor Wimberg
Nick Taylor – Lead vocals Wayne Killius – Drums Dave Francis – Bass David Flint – Electric and acoustic guitars Chris Nole – Piano/keys
Video Credits: Produced by Charlotte Avenue Entertainment Directed by William Gawley Shot by Austin Boylen and Dominick Sotis
Meadow Mountain, “Waiting for Tomorrow” (SkyTheory Sessions)
Artist:Meadow Mountain Hometown: Denver, Colorado Song: “Waiting for Tomorrow” Album: June Nights Release Date: May 13, 2024 (single)
In Their Words: “This song attempts to answer the question, ‘What if, instead of starting the band Foo Fighters, Dave Grohl had picked up a mandolin and spent a year exclusively listening to Alison Krauss & Union Station?’ I guess I was doing a lot of thinking and writing about time – the great healer, but also that which brings an end to all things. And then a new beginning. This is a song about time, and hope.” – Jack Dunlevie
Alisa Amador, “Heartless Author” (feat. Madison Cunningham)
Artist:Alisa Amador Hometown: Boston, Massachusetts Song: “Heartless Author” (featuring Madison Cunningham) Album:Multitudes Release Date: June 7, 2024 Label: Thirty Tigers
In Their Words: “I love this song. I love it because it acknowledges all of the uncertainties and pain of life and it shines compassion on all of it. ‘It’s okay not to know.’ It was such a joy to sing this one with Madison Cunningham. She learned it right then and there in the studio, and her voice says so much.” – Alisa Amador
Artist:Josh Fortenbery Hometown: Juneau, Alaska Song: “Sewing the Same Seam” Album:No Such Thing as Forever Release Date: January 12, 2024 (single); March 8, 2024 (album)
In Their Words: “‘Sewing the Same Seam’ is an uptempo existential crisis. Like many songs on No Such Thing as Forever, it indulges in a bit of fatalism while also worrying that I’m capable of more than I admit. I’m a sucker for worst-case scenarios —maybe things won’t get better and not everything turns out alright. And when I linger on those thoughts, it gets easier to convince myself I know what I’m talking about instead. This live take was filmed at a house in Juneau that often hosts songwriters, with the same band that plays on the record.” – Josh Fortenbery
Track Credits:
James Cheng – Bass Lindsay Clark – Fiddle Andrew Heist – Mandolin/vocals
Julia Cannon is one of a kind. Energetic. Witty. Sparkly. Bold. Creative. Unapologetically and fully herself. Her energy is captivating, outfits intriguing – she sometimes shows up in a full ball gown on stage – and her music is catchy and relatable. With a magnetic presence and unapologetic authenticity, Julia brings a fresh and vibrant energy to the music scene. In addition to being a songwriter, instrumentalist, vocalist, and performer, she also produces and mixes her music.
Julia has played many Queerfest showcases and was part of Queerfest 2023, taking the stage at The Basement East. In this interview we talk about her dedication and the hard work required to pursue her career in music, her experience as an LGBTQ+ artist, and her pursuits as both an artist and producer.
What’s your ideal vision for your future?
Julia Cannon: It would include a lot more peace and a lot more freedom. I’ve been working since I was 12, sometimes two jobs trying to get to college or help my mom with her alterations shop or pay off my private student loans. I just want to be able to fully invest more time and more of the money that I make into my craft.
What is your greatest fear?
Not reaching my full potential and never being able to invest fully in myself.
What is your current state of mind?
I’ve been in the grind mindset my entire adulthood. I’m 30 now, and I’m finally starting to be able to do some of the things that I want to do. I just finished my first little tour and had a blast. I’m transitioning as I pay off my private loans in the next year or so.
What would a “perfect day” look like for you?
I’d sleep in until 10 a.m., go and have some tea with my cat, and then start playing guitar. Hopefully I’d end up making music somehow, and then a shitty rom-com and I fall asleep on the couch. Can you tell I’m an introvert?
Why do you create music? What’s more satisfying to you, the process or the outcome?
It’s the first way that I learned how to process and communicate my feelings and thoughts. And it’s still the best way to root around in there. And then I get to share it and that’s magical.
Do you create music primarily for yourself or for others?
It’s selfish. And I’m not even motivated by external validation, which is hell. But it’s also freeing. But sometimes my inner critic is a dick.
What’s the best advice you’ve ever gotten?
Recently I was freaking out about god-knows-what and my Uncle Vic said, “Just go where the joy is,” and I was like… damn, it is that simple.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
Find your people and go where the joy is. And also therapy.
What does it mean to you to be an LGBTQ+ musician?
Queerness in general just means freedom from following the norm. Life outside of the box. I think that translates to the art that we make as well.
What are your release and touring plans for the next year?
I have no idea. While I’m still working full time to pay off my loans, I’m taking it day by day. I’d love to release some EPs and keep playing in new cities. I had so much fun on tour.
Your album, How Many, came out this year. What was the process like for you to write, record, and release this collection of songs?
It was really fun and fulfilling. I want to keep growing as a producer and a mix engineer and I feel like I did that with this album. I got to see where I need to continue growing and have new goals for future projects. I crowdfunded How Many, so I was able to hire and work with a lot of people that elevated the project as well. It made me so happy.
You’ve collaborated with other LGBTQ+ artists like Purser. What is it like for you to work with other artists in the community?
My inner child is so stoked about it. I grew up in such a small town in Alaska. Being able to collaborate with inspiring artists who are also queer is incredibly healing.
What has your experience been as a queer woman of color in Nashville?
Mixed bag honestly lol. I feel tokenized sometimes and sometimes I’m happy to be representation for younger generations. I think, in general, things are trending upward. I feel safe and supported.
Artist:Annie Bartholomew Hometown: Juneau, Alaska Song: “All for the Klondike’s Gold” Album:Sisters of White Chapel Release Date: June 16, 2023 Label: Muskeg Collective
In Their Words: “Sisters of White Chapel is a historic songwriting project inspired by narratives of women who came north during the Klondike Gold Rush to my home state of Alaska and the Yukon Territory in the 1890s. For the past several years, I’ve been researching the lives of Victorian sex workers and women involved in the entertainment industry in these boomtowns, pairing their stories with string band traditions in search of the emotional truth and legacy of this history that persists today.
“The lyrics to ‘All for the Klondike’s Gold’ were adapted from a 1900 miner’s poem published in Dawson City’s Daily Klondike Nugget which describes three women left behind in the Northland after the deaths of their male companions. These were common tragedies in the backcountry and left women with few choices, forcing some to turn to sex work as a means of survival.” — Annie Bartholomew, Alaskan songwriter
Artist:Jewel Hometown: Homer, Alaska Song: “Long Way ‘Round” Album:Freewheelin’ Woman (produced with Butch Walker) Release Date: April 15, 2022 Label: Words Matter Music
In Their Words: “‘Long Way ‘Round’ is a song about overcoming something difficult, even if it requires getting lost or taking the longer way around. I’m celebrating some of the things I’ve overcome as well as the choices I’ve made that have brought me to where I am today. The heart and mind are powerful muscles that are always willing to adapt and grow when you let them.” — Jewel
In Their Words: “‘New Light’ was one of the first love songs I wrote. It’s about the early time in a relationship where you keep finding little things that change the way you see a person (hopefully good things)! This song is also a little existential — it deals with the wonder and mystery of the universe as well as that of love. When you meet someone that you feel so deeply connected to, it feels like there must be a reason you were brought together, and yet rationally, I don’t believe that there is. I’m not sure I’ll ever know exactly if there’s a greater meaning to life, but for me this song is about being okay with that, and always finding a new way to look at beautiful things.” — Ava Earl
Artist:Caiola Hometown: Philadelphia, Pennsylvania Song: “Alaska” Album:Only Real When Shared Release Date: October 2, 2020 Label: Workaround Records
In Their Words: “‘Alaska’ tells the story of a brief yet impactful love affair. Someone who has been emotionally closed off for years has their eyes opened to the opportunity of a relationship. The stripped-down instrumental arrangement draws glaring attention to the lyrics as warm textures build around a droning, woody, repetitive fingerpicked acoustic. The stacked vocals both doubling and harmonizing were meant to add to the width of the track, sonically. I’ve always liked doubling my vocals and wanted the chorus to be set apart from the verses with all the added layers. I think guys like José González, Justin Vernon, and S. Carey do this really effectively and that’s sort of what we referenced, production-wise.” — Caiola
Frank Solivan has steadily built a foundation in bluegrass, from going to festivals as a kid, touring in acoustic bands while living in Alaska, and playing fiddle in the US Navy Band’s bluegrass ensemble. For nearly 10 years he’s fronted Frank Solivan & Dirty Kitchen, an IBMA award-winning group that embraces its eclectic influences. A few days before releasing the new album, If You Can’t Stand the Heat, Solivan traced his journey with the Bluegrass Situation.
BGS: Let’s start with “Crave.” I feel like it captures everything that you’re about – the melody, the picking, and the big singing voice. Did you think it sets the tone for this new album?
Solivan: Yeah, a little bit. Right from the beginning, I had an idea for long, sustaining notes, and this chordal thing, and the words started coming together. Becky Buller and I started writing that song… gosh, it’s been a while now. We took some artistic arrangement liberties in the studio and came up with what’s there. I almost feel like I painted myself in a corner because it is a tough song to sing, and it takes a lot of vocal energy, that’s for sure.
You do build up to a big note. While you’re singing that song, do you think, “Oh no, here it comes…”
You know, if I’m in good voice, I’m not terribly worried about it. There’s a lot of arrangement stuff that goes on in there too, keeping it together. Singing well while you’re playing an arrangement like that – I’m really the only person I have to worry about. Everybody else is great. It’s fun, though, and it’s a challenge.
I was having some trouble with my hands over the last decade or so, my left hand especially, and it was getting progressively worse up until we were recording this record. I never considered myself a great singer or whatever, but I really wanted to focus on the singing on this record, because I thought maybe I won’t be able to play as well as I want to later.
Then I had carpal tunnel release surgery on my hand and it turned out great. I went to a top-class surgeon and my hand is fine now. But, you know, as a musician you worry about that, thinking maybe I should just focus on singing well on this record and keep my playing within my limitations, and not reach out too far. I was able to focus and find a singing voice. I’m constantly trying to become a better singer and I think maybe this record helped with that a little bit, too.
On your albums, you often go for honest, confessional lyrics, and I don’t hear that a lot in bluegrass. Do you think you have that more “sensitive songwriter” side to your music?
Oh, I’m just a big teddy bear. [Laughs] My songwriting comes from inspiration in life, for sure. But I didn’t write every song on this record. I wrote “Crave” with Becky, then there’s a song that closes the record called “Be Sure” that was based on an experience of mine, and some other experiences of others around me at the time, when I was 19 or 20 years old. And it’s finally seeing the light of day and got recorded.
But the formula is having songs that I can relate to – either songs that I’ve written or written with somebody, or from a family member or a band member. My cousin Megan McCormick wrote two songs on there – “My Own Way” and “Shiver.” Our banjo player Mike Munford composed the banjo tune on there. Also, friends write songs, like Sarah Siskind. She wrote the song “Set in Stone” with Ari Hest. That’s the formula for us — keeping it kind of close.
How did you wind up living in Washington DC?
Back when I was 18, I graduated from high school and moved from Central Valley, California, to Alaska. I drove my pickup truck up there. I was with my mom, and also I was invited to play music up there with Ginger Boatwright. She was doing a tour that first summer with Doug Dillard – she was the singer and guitar player for the Doug Dillard Band. I thought, “OK, I’m going to hang out and play it by ear.” We had a little bit of family up there, so we stayed with them. My mom got a job and then I went off and moved all around Alaska.
Long story short is, I loved it and stayed. I worked all kinds of jobs, from explosives, to a perforating service, to driving trucks and delivery vehicles, to driving a school bus and being a substitute school teacher, to construction… whatever I could do that would allow me to go hunting and fishing and play music. I played with a lot of bands and went to the University of Alaska in Anchorage and studied violin performance. And then heard of an audition for the US Navy Band in Washington DC, for the country band and bluegrass band, and when they had an opening, they offered me the job.
The next thing you know I’m going to boot camp, doing about a million push-ups. Anyway, Leah — who is my wife now but was my girlfriend at the time — and I moved to the DC area in 2003 and I reported for duty. We got locked in here and I did six years with the Navy Band. I decided at the five-year mark that I needed to get out and I gave them my notice. I needed to get out and make music. It was a good job and I was proud to serve, but for me, I needed to be an artist. I needed to make music, not just play music.
Growing up, who were some of the people who encouraged you?
Well, we’d have these huge family gatherings and we’d end up doing big meals, and the next thing you know, everybody’s pulling out instruments and everybody’s encouraging other. I had a cousin Ty that passed away last year — Charles Tyson Smith – and I’ve recorded a number of songs that either he’s written or that we wrote together. He was somebody I looked up to in my family as a musician, writer, and singer.
And of course my parents would take me to concerts and music festivals. I remember when I was pretty young, going to see Ray Charles, Tower of Power, Stevie Wonder, The Judds, Merle Haggard, whoever it might be. I had all these opportunities to see these greats and we’d go to music festivals as well – bluegrass festivals and old-time fiddle contests and jam sessions. That’s what I grew up doing. Now of course I realize what a gift it was.
When I was in high school, I heard about this band who was looking for a fiddle player. My mom took me to the audition and I got the job. She took me to a number of these gigs and helped me buy the gear I needed for it. I played with a number of bands in high school, but they weren’t high school bands. They were regional bands that would open up for big names and big concerts, and play big clubs and dancehalls. Luckily I carried myself a little older than I was, which was great, because if they knew I was 16, 17, or 18 years old, I probably wouldn’t have been allowed to go into these places!
Being exposed to so many different kinds of music, do you think that shaped the way you hear songs or seek out songs?
Yeah, I think it’s a more open-minded approach for sure. People are always trying to categorize — “So, what kind of music do you play?” A graphic artist friend of mine and I came up with a shirt design, and we sold out of ‘em pretty quick, but it was basically an umbrella, and on the umbrella, it said, “ALLGRASS, Frank Solivan & Dirty Kitchen.” Then underneath it, like raining coming down inside the umbrella, it had words like Appalachian, mashgrass, newgrass, bluegrass, country, acoustic, and all these different titles people think you need to categorize somebody. But the idea was, we try to pull from all of those things and beyond. But also to say, all of those styles are, shall we say, bluegrass.
I think people are really scared these days about losing traditional bluegrass music. But it’s kind of like everything – if it’s really good, which it is, and authentic and organic and beautiful and done well, then it’s not going anywhere. It will stand the test of time. And the beauty about all those traditional bluegrass people like Bill Monroe, or moving on into the Osborne Brothers and Jim & Jesse, all those guys were innovating. They were trying to get it to a larger audience, and to me, that’s the tradition of bluegrass – to constantly have it evolve for people right now.
Artist: Van William Hometown: Kodiak Island, Alaska Latest Album:Countries Personal Nicknames: My friends call me GOV (Good Ol’ Vanny)
Which artist has influenced you the most … and how?
It’s almost impossible to pick a single artist that stands above the rest as all the influences swirl around my brain like some amalgam of swirling colors and sound that I draw from involuntarily and without knowing the source. But, if I were forced to answer the question: Neil Young. He’s been a source of inspiration to me for so many years and has taken so many forms — his melodic instincts, his raw commitment to always trying new shit, his unapologetic pride in what he is currently doing. I met him years ago, and we smoked a joint together after a show I played with his ex-wife, Pegi, in Redwood City, California. In person, his spirit matched the quality of his work in a way that I will never forget.
What’s your favorite memory from being on stage?
Again, picking one singular moment is not really possible. My feet to the flames: When my old band, Port O’Brien, was on tour in Australia, we were playing the Laneway Festival and invited the crowd on stage for the last song “I Woke Up Today.” In hindsight, it was a ridiculously stupid idea, as so many people came up that the stage nearly collapsed, someone stole my acoustic guitar, and we almost got kicked off the festival tour. But during the song, I just remember being surrounded by that mess of people screaming along the lyrics, and jumping, and thought that was essentially the apex of performing.
If you could spend 10 minutes with John Lennon, Dolly Parton, Hank Williams, Joni Mitchell, Sister Rosetta, or Merle Haggard how would it go?
In my dream, John Lennon and I would smoke a joint and listen to all my favorite records that came out after he died, and he would tell me what he thinks about them. I’ve always wondered what he would think of Lil Wayne’s Tha Carter III and Nirvana’s In Utero.
What rituals do you have, either in the studio or before a show?
Coffee is an important ritual. There’s nothing better than a cup of good, clean Four Barrel black coffee from my Chemex. I’m constantly brewing and serving to the band and crew in the studio. It’s the one thing in my life that is both meditative and stimulating at the same time.
Which elements of nature do you spend the most time with and how do those impact your work?
The sea has been at the center of my entire life. Having spent years up on Kodiak Island in Alaska working on my father’s commercial fishing boat, the sea has become a powerful force of centering for me. I wouldn’t say nature directly impacts my work, but it’s incredibly important for my general well-being which, of course, is related to my productivity.
Photo credit: Silvia Grav
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