Larkin Poe are unstoppable. The incendiary sister duo – made up of Megan and Rebecca Lovell – have enjoyed near constant growth and momentum building over the past decade and a half, since they emerged from their younger family band era in the early 2010s as an endlessly gritty and gutsy Americana-meets-blues-meets-Southern rock phenomenon. Now, their sights are set on their upcoming seventh studio album, Bloom (out January 24 via Tricki-Woo Records), with a year’s worth of accolades – including their first GRAMMY winand being named the Americana Music Association’s Duo/Group of the Year – firing like afterburners on their already rocketing career.
Their perseverant climb of the music industry’s ladders is the least remarkable aspect of Larkin Poe’s trajectory, though. The sisters Lovell outwardly channel a sort of outlaw-styled disaffection for the trappings and machinations of the industry or Music Row, inhabiting self-assured personas that fit seamlessly within the genres they call home. They know they’re stellar songwriters, they’re virtuosic pickers, and they’re fluent in the aggression, anger, and release of rock and roll. Across their entire catalog there are clear demonstrations – from the winking and sly to the outright and overt (see, for instance, “She’s a Self Made Man“) – where Larkin Poe show their listeners they aren’t just living in “a man’s world,” they’re owning it, re-centering it, and doing it better than the machismo naysayers rife in these roots styles. Styles where a corrective phrase like “Um, actually…” is still wielded as a cudgel or seen as valuable social currency.
Um, actually… these women know exactly what they’re doing. And they would have to, given they came up through bluegrass, folk, and string band circles as a bluegrass(-ish) family band, the Lovell Sisters, with their sister Jessica. Winning songwriting contests and appearing on Prairie Home Companion, the Lovell Sisters were quickly beloved in bluegrass, honing their chops while also getting their first tastes of being written off or sidelined as “merely” a female-centered novelty act. When the group decided to disband, Megan and Rebecca “reskinned” as Larkin Poe, immediately transforming so many of their “I knew them when” audience members into “I wish they still played bluegrass” skeptics. Not that the Lovells cared, ultimately. A hallmark of the duo since their rebirth has been agency, autonomy, and self-possession. (Something of a prerequisite for successful women in roots music, to be sure.)
Seven studio albums into their grooving, rollicking, no-holds-barred catalog, Larkin Poe are even less concerned with external forces or outside variables influencing and impacting their music. Bloom builds on the confidence and clarity of Blood Harmony‘s GRAMMY Award-winning vision. Produced and co-written by both Lovells and their longtime collaborator (and Rebecca’s spouse) Tyler Bryant, Bloom zooms in on the individual stems, leaves, and petals of the agency and self-determination that have run through all of their music. It is, yet again, a decidedly familial project, but despite all of the ground they’ve covered together and all of the miles they’ve traveled over their lifelong careers together, rebirth and reinvention continue to blossom on each of their projects. It speaks once more to the music itself being their guiding light – rather than commercial appeal, marketability, or continuing to do it simply because it’s what they’ve always done.
“Bloom is about finding oneself amidst the noise of the world,” says Rebecca via press release. “About wholeheartedly embracing the flaws and idiosyncrasies that make us real. In one way or another, pretty much all of the songs on this album are about finding yourself, knowing yourself, and separating the truth of who you are from societal expectations.”
Perhaps only a group of women could make a Southern rock album with this sort of message at its core. They may peacock and strut, on stage and in the studio, just like their male peers and contemporaries might, but they do so with a message and mission that’s decidedly antithetical to most creators in Americana, rock, and blues these days. Especially the “Um, actually…” set. By taking on these characters and personas, Larkin Poe aren’t hiding their truths from us, but putting their most authentic selves directly into the spotlight.
At the same time, when you’ve spent your entire adult lives making and performing music with your family, with siblings and in-laws and chosen family, too, it’s often a passive and subconscious process by which you slowly lose pieces of yourself, of your individuality, of your sacred selfhood. It’s no wonder, then, that Larkin Poe have crafted a stunning, engaging, and iconic catalog of music that orbits around this very dichotomy. To be a family band, to sing or pick or channel blood harmonies, is to give up yourself for the greater whole. Megan and Rebecca and their compatriots then use that same music to find and re-find that sense of self as it slips away. Each time, each album and each set of songs, it is a musical gift; and each time, including the latest effort, Bloom, Larkin Poe find and share themselves anew.
We are so very excited to name Larkin Poe our January 2025 Artist of the Month. Stay tuned for our exclusive interview with Megan and Rebecca Lovell coming later this month, dive into our Essential Larkin Poe Playlist below, and follow along on social media all month as we dive back into the BGS and Good Country archives for everything Larkin Poe and the Lovell sisters.
Boasting an Instrumentalist of the Year nomination at the 2024 Americana Music Association Honors & Awards (held September 18), Grace Bowers may be one of the most exciting new guitar players on the planet – with extra emphasis on “new.”
Still in her teens, the Bay Area native has made a splash with soulful-beyond-her-years playing and the enthusiasm of youth, but she’s proving to be more than just a six-string specialist. Now leading a funky blues-rock outfit called The Hodge Podge, Bowers dropped a strutting, co-written debut single – “Tell Me Why U Do That” – and has a cosmic follow up to come. Plus, she’s not afraid to speak her mind.
Already using her platform for positive impact, Bowers will host the 2nd annual An Evening Supporting Love, Life & Music benefit concert at Nashville’s Brooklyn Bowl June 10. Founded to support victims of the Covenant School Shooting and now benefiting Voices for a Safer Tennessee and MusiCares, the show will feature Bowers and The Cadillac Three, Devon Gilfillian, Caroline Jones, Meg McRee, Jared James Nichols, John Osborne, Lucie Silvas, SistaStrings, Brittney Spencer, and Butch Walker, as the rising star looks to leverage her “prodigy” label attention.
BGS caught up with Bowers just as the summer festival season kicked into gear, getting to know an exceptional breakout talent who seems primed for a long career to come.
After blowing up on social media during the pandemic, you’ve done a lot in the last few years – but, you still have a few months before you turn 18, right? How have you managed to balance this music career with growing up and just being a teenager?
Grace Bowers: It’s definitely a weird balance, and especially since I don’t go to school anymore. I started doing [school] online a year-and-a-half ago … and I don’t miss homework, but I definitely miss being around people my own age and just a normal experience. But at the same time, I’m getting to do this stuff that I love almost every night, and I would take that over anything. Some people look at it like I’m doing it too fast, or someone’s pulling strings for me, and it’s not true. This is what I love and I can’t imagine doing anything else.
What drew you to guitar in the first place? I know people like to compare you to the female guitar greats, like Bonnie Raitt or H.E.R., but I feel like it doesn’t have to be just women. I hear a lot of Prince’s style in you, or even Derek Trucks.
Yeah, I love all those players that you just mentioned! The first time I was drawn to a guitar or just to music in general was when I was 9 years old, and I saw Slash on YouTube. Which is kind of a basic answer, but that’s how it happened. I was watching the “Welcome to The Jungle” music video.
Really? So did you just rush right out and say, “Hey, mom and dad, I need a guitar”?
That’s pretty much how it went. I think I tried almost every other hobby there was. I got kicked out of soccer, hated Girl Scouts. I’m pretty sure I got kicked out of softball, too. I was not good at gymnastics. I tried everything and my parents tried everything. So when I came to them and said I wanted a guitar, they were like, “We’ll get you a guitar.”
Were you ripping leads within months, or how long did this take?
Oh, no, no. People call me a prodigy a lot and it’s entirely not true, because for the first three years I was so bad. I was awful, and I wasn’t even really passionate about it. It was just kind of something that I did. I never really practiced or dug into other music styles.
But when I was 13 and COVID had just started, I heard B.B. King for the first time – “Sweet Little Angel” – and that song starts off with three notes. I was so hooked on that, and it was a sound I had never heard before, because I didn’t grow up around music. I don’t have any players in my family, so it was a completely new thing to me, and that’s what really made me passionate about it. I started actually learning things on guitar, but it was not an immediate light bulb moment for me.
I think that’s actually a good message for people, because it’s easy to get burned out trying to learn an instrument.
Yeah, it takes time.
Was it a shock to get this Americana Music Association nomination? You’re up for Instrumentalist of the Year, right?
Yeah, I forgot. I didn’t even know I was nominated, to be honest with you. I had no idea. I opened Instagram one day and I was tagged in the post. I’m like, “Holy shit, this is insane.” Because the year before that, I was in the audience at the Ryman watching the Americana Awards. So now that I get to be there, that’s insane.
Tell me about getting the band going and working on songwriting. You’re known for your guitar playing, but it seems like you’ve been trying to diversify. Does that come natural?
Songwriting was a bit of a learning curve for me, but it is something I’m very, very much into these days. I feel like people just look at me as a guitar player, but I don’t really feel like I’m just a guitar player. And even at that, I’m not some bright virtuoso guitar player. I wouldn’t consider myself that at all. I lead this band, I wrote all the songs or co-wrote them. So I think that that’s something that a lot of people don’t realize when they’re leaving hate comments online.
Your band sounds amazing – I love how much funk and soul is in the mix. It’s also cool you present yourselves as an ensemble. It’s not just Grace Bowers and then some people behind her.
That was my goal, because like I said, I don’t want to be known as just a guitar player. If you think of Derek Trucks, you think of Susan [Tedeschi], too. Tedeschi Trucks Band would not be what it is without one another, and I love that. And since I don’t sing right now, I want to be known for this amazing band.
The first single, “Tell Me Why U Do That,” came out a little while back. It’s super funky and light – what did you write that about?
It wasn’t written about a single person. It sounds like it is, but I wrote it with John Osborne and his wife Lucie [Silvas], and honestly, we wrote it in an hour and we were kind of just bullshitting lines. … Normally I’m like, “Well, the lyrics have to mean something.” But I kind of let that go for this one. It’s just a fun song.
Does that speak to the other stuff you’re doing?
For the most part, the lyrics were very intentional. My second single that’s coming out is called “Wine on Venus,” and this one has a cool story behind it. It was written about my Nana who passed away a bit ago. I’m from California, so we went home for Christmas this year and it was the first year not having her at Christmas. Everyone was talking about her, and my uncle said she always told him that when she died, she’d be drinking wine on Venus. It’s the brightest star.
Oh, wow.
Yeah, and I thought that was such a cool thing to think about. So I brought it back here and I was writing with Ben Chapman and Meg McRee, and I told them this story, and this song just flowed right out of us.
Your grandma sounds like she was awesome.
Yeah, she was kind of crazy, but there were some good nuggets in there from time to time.
John Osborne is producing your work, and he’s an amazing guitarist in his own right. Does that have an impact on what you’re doing?
Absolutely. I don’t think enough people are talking about how good a guitar player John Osborne is. He’s on a whole ‘nother level, and I don’t hear his name mentioned when people are talking about great guitar players, but I can’t imagine doing it with anyone else. I think he just completely understood my vision and the sound I was going for, and I’ve worked with producers before who have a sound and they’ll try to mold you into their sound, and John wasn’t like that at all. I mean, he gave us direction and some really great ideas, but really let me and the band lead the ship on where it was going. So I really appreciated that.
Tell me about the benefit you put together for June 10 – An Evening Supporting Love, Life & Music. Why did you want to do this so early in your career?
This is my second year doing it, and the first year I put together after the Covenant School shooting. I have two little brothers in school, and I remember the day it happened, they were texting me like, “There’s a school shooting.” And at first they didn’t tell me what school, so my heart dropped thinking it was at their school. They eventually told me, but that brief moment of panic I had – I can’t imagine if you were a parent with a kid at Covenant on that day. Just to even think about that is awful. And it really upset me seeing how much of a divide there was, because coming from the Bay Area in California, we have different viewpoints.
I don’t know, it just upset me that it seemed to be such a divided issue, and really I think there’s a lot of common ground to be found. The first year I did it, the money went directly to the school and MusicCares, and it went amazing. So much so that the school is no longer accepting donations. They received so much support. So this year we’re donating [proceeds] to an organization called Voices for Safer Tennessee, and they’re non-partisan so it’s not political in any way, and they’re advocating for safer gun laws – which Tennessee needs some of that. I’m just doing all I can to support something that I’m passionate about, and I want to see some change.
Last week, before the Turnpike Troubadours headlined the iconic Red Rocks Amphitheatre in Morrison, Colorado, two phenomenal young pickers also on the show bill stepped out into “the house” to perform Tyler Childers’ “Shake The Frost.”
Guitarist Wyatt Flores, a current nominee for the Americana Music Association’s Emerging Act of the Year, and Sierra Hull, Grammy-nominated mandolinist and songwriter, performed an intimate and tender rendition of the Childers hit flanked by the infamous red rock cliffs and backgrounded by the historic amphitheatre’s nearly 10,000 seats.
Flores and Hull demonstrate the timelessness with which Childers writes his songs and lyrics; in this simple, acoustic setting the track listens like an age-old folk song that’s been passed down generationally. With gentle unison vocals on the choruses and subtly interspersed licks and fills, the pair of virtuosos know that less can indeed be more. While they are each objectively shredders on their instruments, another common thread between them is their commitment to giving songs the treatment they deserve – rather than using each and every track they perform as a chance to show off their picking chops.
Hull has long been a technical – and artful – standard-bearer for her generation of bluegrass pickers, while Flores is enjoying something of a meteoric rise after having spent most of his young life touring and performing. Together, they represent the vibrant, genre-blending present and future of country, Americana, and bluegrass.
Artist: Jaimee Harris Hometown: Born in Nacogdoches, Texas; Raised in Hewitt, Texas; Living in Nashville, Tennessee Song: “Orange Avenue”
In Their Words: “My partner, Mary Gauthier, was given an incredible writing residency in Key West for the entire month of January 2022. We often tour together, so I decided I’d take the time of solitude to search for songs. I started my search in the panhandle of Florida and spent a month driving down to Key West. Every two to three days I traveled to a different town, collected stories, visited fascinating museums, explored the variety of Florida’s natural beauty, and wrote a song in every town I visited.
“I did not plan to stop by Pulse Nightclub, but I found myself there alone at night. The first thing that struck me about Pulse was its location. I imagined it would be located in a nightlife district, but that is not the case. I was surprised to find it standing at the end of Orange Avenue, across from a Dunkin’ Donuts – the only two businesses on a street lined with houses. Pulse was a queer-friendly club, but it was also a neighborhood bar. The entry age was 18, so there were plenty of teenagers who hung out at Pulse simply because it was a friendly place where they could dance without having to be 21 to enter.
“The second thing that struck me was a plaque that listed 48 names of those who were killed on June 12, 2016. The third thing I noticed was a block of text that read, ‘We honor the 49 angel birthdays by placing angel wings next to their name. You are always in our hearts.’ If there were 49 killed, then why were only 48 names listed? I then noticed a plaque that said, ‘Out of respect for the family’s wishes, a victim’s name has been kept private.’
“I was curious about why that was and so I did some research. What I discovered was that the family of one male victim did not know he was gay until he was murdered at Pulse. The man’s family did not want to collect his body. This is why officials in Orlando felt it was important to emphasize to the world that this, up until that point, the highest casualty mass shooting in America was a hate crime targeting the LGBTQ+ community.
“I tried not to write ‘Orange Avenue.’ I tried to run away from it. But the song kept nagging at me. The original version of this song was sung from my perspective, but I felt it wasn’t quite right. I tried a lot of other narrative perspectives until I landed on the one that made me cry the hardest: the unnamed, unclaimed man.
“I have only played ‘Orange Avenue’ in public three times. In July 2023 at the Woody Guthrie Folk Festival in Okemah, OK, in September 2023 at the Americana Proud showcase hosted by Autumn Nicholas, and for this Pilot Moon Films taping.
“I am so grateful that Pilot Moon Films invited me to participate in this incredible From One, to Tenn. series. Because Pilot Moon Films was so generous with their time and talent, I felt deeply that I should use this gift as an opportunity to share this man’s story.” – Jaimee Harris
Video Credits: Filmed by David Allison, John DeMaio, and Joel Malizia, Pilot Moon Films / Islander Entertainment Audio captured – Brett Blandon Mixed/Mastered – John Kelly Special thanks to Helene Cronin & Victoria O’Campo
Photo Credit: Video stills courtesy of Pilot Moon Films
Artist: Autumn Nicholas Hometown: Born in Fayetteville, North Carolina, living in Nashville, Tennessee Song: “Baggage”
In Their Words: “To be able to share our music in such an incredible, intimate way, in such a breathtaking setting was pure joy for us and we hope that comes through with the recordings. We are grateful to From One to Tenn. for including us in this series and are excited to share our music as part of the program.
“We’ve had the pleasure of working with Pilot Moon on a few other projects and it’s always an amazing experience, they are uniquely able to capture emotion in a raw, unfiltered, and honest way.
“Opportunities to help lift and amplify our music, such as the One to Tenn. series, are invaluable to us as artists and humans, as it allows us to connect more broadly with new people in a very compelling way.” – Autumn Nicholas
“John, Dave, and I have been coming to AmericanaFest for a few years to sit back, relax and enjoy the music. Last year, we decided that, in 2023, we would set something up that’s fun, helps musicians, and benefits the AMA. It was important to us that we dream up something big that would inspire the musicians and offer them an opportunity that doesn’t come around very often. Once the Schermerhorn [Symphony Center] agreed to rent us the venue, we knew this series was going to be special.” – Joel Malizia, Pilot Moon Films
Video Credits: Filmed by David Allison, John DeMaio, and Joel Malizia, Pilot Moon Films / Islander Entertainment Audio captured – Brett Blandon Mixed/Mastered – John Kelly Special thanks to Helene Cronin & Victoria O’Campo
Photo Credit: Video stills courtesy of Pilot Moon Films
The Americana Music Association announced the winners of its 22nd annual Americana Honors & Awards this evening (September 20) at a star-studded show at the historic Ryman Auditorium during the week-long AmericanaFest conference and festival in Nashville. Performers at the marquee event – which felt, as it usually does, more like a concert interspersed with awards presentations than vice versa – included Bonnie Raitt, Bettye LaVette, S.G. Goodman, Noah Kahan, The Avett Brothers, Adeem the Artist, William Prince and many more with Buddy Miller once again as music director for the Americana All-Star Band.
The evening’s presentations also spotlit this year’s Lifetime, Trailblazer, and Legacy Award Honorees: The Avett Brothers, George Fontaine Sr., Bettye LaVette, Patty Griffin and Nickel Creek. Allison Russell, nominated in two categories, was bestowed the Spirit of Americana / Free Speech in Music Award by the infamous Tennessee Three, Tennessee state representatives Gloria Johnson, Justin Jones and Justin Pearson, whose expulsion by the Tennessee General Assembly after protesting in support of common sense gun legislation earlier this year made international headlines.
A full list of categories, nominees and winners at the Americana Music Association’s 22nd annual Americana Honors & Awards is below, winners in bold. Congratulations to all of the honorees and awardees!
ARTIST OF THE YEAR:
Charley Crockett
Sierra Ferrell
Margo Price
Allison Russell
Billy Strings
ALBUM OF THE YEAR:
Big Time, Angel Olsen; Produced by Angel Olsen and Jonathan Wilson
Can I Take My Hounds To Heaven?, Tyler Childers; Produced by Tyler Childers
El Bueno y el Malo, Hermanos Gutiérrez; Produced by Dan Auerbach
The Man from Waco, Charley Crockett; Produced by Bruce Robison
Strays, Margo Price; Produced by Margo Price and Jonathan Wilson
SONG OF THE YEAR:
“Change of Heart,” Margo Price; Written by Jeremy Ivey, Margo Price
“I’m Just a Clown,” Charley Crockett; Written by Charley Crockett
“Just Like That,” Bonnie Raitt; Written by Bonnie Raitt
“Something in the Orange,” Zach Bryan; Written by Zach Bryan
“You’re Not Alone,” Allison Russell featuring Brandi Carlile; Written by Allison Russell
DUO/GROUP OF THE YEAR:
49 Winchester
Caamp
Nickel Creek
Plains
The War and Treaty
EMERGING ACT OF THE YEAR:
Adeem the Artist
S.G. Goodman
William Prince
Thee Sacred Souls
Sunny War
INSTRUMENTALIST OF THE YEAR:
Isa Burke
Allison de Groot
Jeff Picker
SistaStrings – Chauntee and Monique Ross
Kyle Tuttle
Jack Emerson Lifetime Achievement Award
George Fontaine, Sr.
Legacy of Americana Award (Presented in partnership with the National Museum of African American Music)
Bettye LaVette
Lifetime Achievement
Patty Griffin
The Avett Brothers
Spirit of Americana / Free Speech in Music Award
Allison Russell
Trailblazer Award
Nickel Creek
Photo Credit: Bettye LaVette by Danny Clinch; Allison Russell by Laura E Partain; Billy Strings by Jesse Faatz; SistaStrings by Samer Ghani.
AmericanaFest is HERE! The annual festival, business conference and roots-music extravaganza will once again take over Nashville beginning today, September 19, through Saturday, September 23. While of course we’re most looking forward to our event presented with Queerfest, the Good Ol’ Queer Country Jamboree, on Saturday from 3 p.m. to 6 p.m., the entire week is filled to the brim with must-see, must-hear, must-do events, panels, showcases, parties and hangs.
As we do most years, below we lay out a variety of items starred by BGS staff on our AmericanaFest apps – which, BTW, is a festival and conference essential. You can add performances, panels, and keynotes to your own personalized scheduled complete with lineups, panel rosters, details and more. Plus, you’ll be able to easily see which events require special tickets or advance RSVP directly in the app and which are accessible with your conference badge or festival wristband. Download the official app on the app store here. Download via Google Play here.See the full AmericanaFest daily schedule in your browser here.
We want to hear from you, too! Which AmericanaFest events and shows are you most excited for? Which of the more than 200 showcasing bands and artists are at the top of your lists?
Panels, Parties,& Events
Check-in and pass pick-up begin today, Tuesday, September 19, at 12 noon at the Westin Nashville in the Gulch, but most panels and conference programming gets rolling tomorrow, on Wednesday. If you thought ahead, you already RSVP-ed to the Country Music Hall of Fame & Museum’s conversation and performance by two of our faves, Rosanne Cash and John Leventhal, this afternoon at 3 p.m. They’ll chat about their careers plus the 30th Anniversary re-issue of The Wheel – hear a track from that project on BGS here.
There are quite a few more conversations, panels and events we’re eyeing this week around Nashville:
Roots & Branches – Kentucky Music – WED. SEPT. 20 10:00 AM @ The Westin Vanderbilt III
Kentucky poet laureate Silas House – who recently wrote the story behind Tyler Childers’ sensational new music video – will chat with fellow Kentuckians and musicians S.G. Goodman, Kelsey Waldon and Nat Myers about “the history, legacy and current state of Kentucky’s music and the way it has helped to shape American music…” The bluegrass state means more to American roots music than just bluegrass and these folks know it. An enlightening conversation is sure to be had.
Where the Action Is: Americana Artists and Activism – WED. SEPT. 20 11:00 AM @ the Country Music Hall of Fame & Museum Ford Theater *RSVP REQUIRED*
Moderated by veteran BGS contributor Jewly Hight and hosted by the Country Music Hall of Fame, this conversation will feature performances by Adeem the Artist, Mya Byrne, Autumn Nicholas and Allison Russell, all artists who leverage their music making in Americana spaces to advance activist causes, social justice and representation and inclusion. The event promises to connect the present and each of these artists to this vibrant tradition in roots music and folk.
Hillbillies and Hot Dogs – WED. SEPT. 20 11:30 AM to 2:00 PM @ Compass Records *RSVP REQUIRED*
Our friends at Compass Records and No Depression host one of the best hoedowns every year at AmericanaFest, replete with hot dogs and the recording studio that birthed the Outlaw movement. Hear music by Robbie Fulks, Kelly Hunt, Mattie Schell and the business queen of banjo herself, Alison Brown.
NMAAM Songwriters Rounds – WED., THURS., FRI. SEPT 20, 21, 22 12:00 PM to 1:00 PM @ National Museum of African American Music
A music conference and festival in Nashville is the perfect time to visit the National Museum of African American Music, which opened during the pandemic and has slowly but surely built momentum and an audience for the history, culture, and tastemaking of African American music. And situated right in the heart of Nashville’s lower Broadway neighborhood, it’s the perfect venue to make such points. NMAAM’s daily writers rounds will feature artists and songwriters like AHI, guitar phenoms Joy Clark and Yasmin Williams, BGS One to Watch Julie Williams and more.
An Intimate Conversation with Nickel Creek & Sarah Silverman – WED. SEPT 20 1:00 PM @ RCA Studio A *RSVP Required*
You read that right! Nickel Creek and Sarah Silverman in conversation at RCA Studio A moderated by Jewly Hight!? Pinch us! Clearly one event not to miss this week. RSVP is required, hope yours has been submitted long ago!
Indigenous Americana – WED. SEPT 20 4:oo PM @ the Westin SoBro I & II
You are still on stolen land. While you occupy the historic lands of the Cherokee, Shawnee and Yuchi this week, set aside time to appreciate, ingest and center Indigenous music makers, their songs and their stories. This panel conversation on the future of the thriving Indigenous music community will feature Amanda Rheaume, Crystal Shawanda, Nicole Auger of the Indigenous Music Summit and Trenton Wheeler. More events for/about Indigenous music below.
Kentucky Bluegrass, Past and Future – THURS. SEPT. 21 2:30 PM @ the Westin Gulch I & II
From our friends at the Bluegrass Music Hall of Fame & Museum in Owensboro, a conversation about the arc of bluegrass in the bluegrass state featuring BGS contributor Craig Havighurst, Bluegrass Hall director Chris Joslin, fiddler Jason Carter, the legendary Sam Bush, educator and picker Scott Napier, and Jessica Blankenship of the Kentucky Music Hall of Fame.
Who Are the Gatekeepers of Americana Anyway? – THURS. SEPT. 21 4:00 PM @ the Westin Gulch I & II
If your immediate reaction to this panel title is skepticism, this is definitely for you! The roster of Omar Ruiz-Lopez (of Violet Bell), Rissi Palmer and Yasmin Williams immediately indicate this conversation will critically unpack and explore the construction of Americana as a format, just how multi-cultural the music really is, and why that strength is worth spotlighting while we dismantle systems of gatekeeping and exclusion.
Transgender Artists Arriving and Breaking Through in Americana – FRI. SEPT. 22 1:00 PM @ the Westin Gulch I & II
Just a few short years ago there were almost no LGBTQ+ spaces at AmericanaFest, so we’re ecstatic to see a trans-specific space like this opened up at the conference. Hear from Ally Free, Cidny Bullens, Mya Byrne, Paisley Fields and moderator Marcus K. Dowling on historic and current challenges and opportunities for trans, non-binary and gender non-conforming Americana musicians.
From ‘Queer Jolene’ to ‘Pay Gap’: Teaching Social Issues Through Americana in the Classroom – FRI. SEPT. 22 3:30 PM the Westin Gulch III
Using two songs as a springboard, scholar-musician Nadine Hubbs and showcasing artist Beth Bombara will be joined by Aimee Zoeller, Ethan Anderson, and renowned writer/thinker Tressie McMillan Cottom to discuss the use of Americana music and texts to teach and highlight current issues of race, class, gender, sexuality and identity in university and college classrooms and academic spaces.
Americana Honors & Awards
Keb’ Mo’ attends the 20th Annual Americana Honors & Awards in Nashville, Tennessee. (Photo by Erika Goldring/Getty Images for Americana Music Association)
The marquee event of the week, the 22nd Annual Americana Honors & Awards will take place on Wednesday evening beginning at 6:30 p.m. See the full list of honorees and nominees here. The awards show promises appearances and performances by so many Americana friends and neighbors: Adeem the Artist, Allison Russell, Brandy Clark, Jessi Colter, Marty Stuart, Nickel Creek, William Prince, Sunny War and many, many more. Recipients of this year’s Lifetime, Trailblazer and Legacy Awards include The Avett Brothers, George Fontaine Sr., Bettye LaVette, Patty Griffin and Nickel Creek.
Good Ol’ Queer Country Jamboree at Soho House Nashville
A rare opportunity to utilize the gorgeous facilities of Soho House Nashville at this members-only and conference passholders-only event! Plus, enjoy the absolute best in queer country being made today as we celebrate the announcement of BGS’s new outlet, Good Country, coming in 2024! Space is limited, so make sure your RSVP is in for the Good Ol’ Queer Country Jamboree featuring music by Adeem the Artist, Jett Holden, Amanda Fields & Megan McCormick, Chris Housman and special guests.
The Good Ol’ Queer Country Jamboree Featuring Adeem the Artist, Amanda Fields & Megan McCormick, Jett Holden, Chris Housman, and more. Saturday, September 23, 3 p.m. – 6 p.m. Soho House Nashville
Showcases, Artists & Bands
Here are just a handful of the showcases, lineups, artists and bands we’ve got our eye on this week:
Americana Proud: A Voice for All – TUE. SEPT. 19 8:00 PM & 9:30 PM @ the City Winery
Hosted by singer-songwriter Autumn Nicholas and Nashville-based drag queen Vidalia Anne Gentry, Americana Proud will bring two showtimes of their highly-anticipated showcase to the City Winery on Tuesday evening, the first at 8 p.m. and another immediately following at 9:30 p.m. Hear from artists and musicians such as ISMAY, Jobi Riccio, Kentucky Gentlemen, Palmyra and many more.
Bourbon & Bluegrass – FRI. SEPT. 22 4:oo PM to 6:30 PM @ the Vinyl Lounge
Join us and our friends from Visit Owensboro and LogStill Distillery for one of our most favorite pairings, bourbon and bluegrass presented by BGS! Fresh off of our rollicking time in Kentucky at Bourbon & Beyond, we’ve still got a hankering for whiskey and tunes – this time from Mama Said String Band and the Owensboro Bluegrass Band. Join us Friday afternoon at the Vinyl Lounge in Wedgewood Houston!
Willi Carlisle
We can’t get enough of this lonesome troubadour’s poetic, old-timey country. He’s in and out of Nashville quick this week, so catch Willi Carlisle’s official showcase at the Vinyl Lounge on Thursday, Sept. 21 at 8:00 p.m. (Read our most recent feature on Carlisle here.) Now THAT’S good country!
Michael Cleveland & Flamekeeper
Fiddler Michael Cleveland burnt down our BGS Stage at Bourbon & Beyond last weekend when he brought on his friend and ours, Billy Strings, as a surprise guest. Later that evening during Strings’ main stage set, he brought Michael out in front of 40,000 roaring fans. We LOVED that moment – don’t miss his official showcase with his band, Flamekeeper, at Analog at the Hutton Hotel on Thursday, Sept. 21 at 9 p.m.
Jessi Colter
This legend of country has a new, Margo Price-produced album, Edge of Forever, out on October 27, so it’s the perfect week to check her off your live performance bucket list. Colter will have an official showcase at 3rd & Lindsley on Wednesday, Sept. 20 at 10 p.m., plus she appears as part of Mojo’s Music City Mayhem on Thursday, Sept. 21 between 3 and 6 p.m. Also some good country.
Della Mae
We’ve been keeping up with Della Mae lately – from Earl Scruggs Music Festival to Bourbon & Beyond to AmericanaFest! – and we’ve loved every second. If you haven’t heard their new four-person lineup, it’s worth checking out this week. If you’re not in Nashville at the conference, stream their newly released Neil Young cover instead. (Below!)
Liv Greene
AmericanaFest is all about discovery and if you haven’t discovered this singer-songwriter yet, this week is your chance. Hear Greene’s award winning songwriting – which is equally winsome and pining while gritty and bluegrassy – on three different occasions throughout the week: Tuesday, Sept. 19, 8 p.m. at Americana Proud at City Winery; their official showcase on Thursday, Sept. 21 at 10 p.m. at the City Winery Lounge; and during the Tribute to the Songs of 1973 Part 3 on Friday, Sept. 22 at 10 p.m.
Jaimee Harris
You know what Jaimee Harris’s music is? Good country! It’s all over this AmericanaFest lineup, for sure. Harris will have your heart firmly in hand with her grounded, earnest and effacing nostalgia. It feels so country and effortlessly Americana, but with endless queer, subversive wrinkles. Get acquainted with Harris and her latest album, Boomerang Town, at several different performances during the week: Tuesday, Sept. 19, 8 p.m. at Americana Proud at City Winery; Thursday, Sept. 21, 4:30 p.m. at the Lone Star Shindig at the Bobby Hotel; Friday, Sept. 22, 1:20 p.m. at Bowery Vault for SHC East Coast Social Club; her official showcase on Friday, Sept. 22, 8 p.m. at the City Winery Lounge; Friday Sept. 22, 11 p.m. at the Basement East for A Tribute to the Songs of 1973; and Saturday, Sept. 23 at Dee’s Country Cocktail Lounge at 1 p.m.
Lola Kirke
All of Lola Kirke’s exes live in LA, so luckily she’s in Nashville this week! Kirke was a highlight of our BGS Stage last week at Bourbon & Beyond in Louisville before heading to AmericanaFest, where you can see her at SiriusXM Outlaw’s Americana Most Wanted guitar pull on Thursday, Sept. 21 at 12 p.m.; also see her official showcase at the Blue Room on Thursday, Sept. 21 at 10 p.m.; and at Imogene + Willie’s Round Up – a free, unofficial, buzzworthy event certainly worth a drop-by at least – on Friday, Sept. 22 at 7:15 p.m.
Native Guitars Tour – Voices of Native Americana – THURS. SEPT. 21 12:00 PM to 4:00 PM @ The Blue Room
Native leaders in music, art and fashion will bring authentic songs and stories to the Blue Room at Third Man Records on Thursday afternoon. Hear from Dach Martin, Jir Anderson, Levi Platero Band, Mike Bruno & the Myriad Mountains, Mozart Gabriel, Olivia Komahcheet, Rico Del Oro, Sage Bond and Scotti Clifford. From Native blues to crooning country and everything in between.
Emily Nenni
Get your boot scootin’ in while you’re in Nashville with honky-tonker Emily Nenni, whose country & western picked up a few tricks and twists in California’s Bay Area before landing in Music City. Nenni will jam a handful of Nashville shows into a packed tour week that takes her away from and back to AmericanaFest in the blink of an eye. Hear her at Honky Tonk Tuesday at the American Legion in East Nashville on Tuesday, Sept. 19; plus an appearance at Musician’s Corner at Centennial Park on Friday, Sept. 22 at 4:35 p.m.; and her official showcase at Eastside Bowl on Saturday, Sept. 23 at 10:30 p.m.
Autumn Nicholas
Nicholas has already appeared on this preview in a few places, and rightly so, as the North Carolinian Black Opry alumnus continues to build momentum behind their stratospheric voice and introspective, emotive songs. Hear the voice Nashville has been buzzing about for months – and that will open for Jason Isbell at the Ryman this fall – throughout the week: Tuesday, Sept. 19 at Americana Proud at City Winery, 8 p.m. and 9:30 p.m. shows; “Where the Action Is” panel at the Country Music Hall of Fame on Wednesday, Sept. 20 at 11 a.m.; and their official showcase at the Basement on Friday, Sept. 22 at 8 p.m.
Queer Cowpoke Roundup – SAT. SEPT. 23 2:00 PM to 5:00 PM @ the Groove
On your way to/from the Good Ol’ Queer Country Jamboree at Soho House on Saturday, stop by the Groove record shop in East Nashville for another LGBTQ+ centered event, the Queer Cowpoke Roundup! With music by Austin Lucas, Julian Talamantez Brolaski, Julie Nolen, Melody Walker, Mercy Bell, Secret Emchy Society, Shawna Virago and Wiley Gaby plus a special tribute to the legacy of Lavender Country and Patrick Haggerty to kick it all off.
Jobi Riccio
We are sweet on Jobi Riccio’s new album, Whiplash, a showcase of powerful, talented songwriting done up in checkered gingham and starchy denim and the perfume of broken in leather. We’ve had our eye on Riccio for a few years now, so it feels gratifying to watch the music industry discover and get behind the Berklee graduate. Hear Riccio perform during the Americana Honors & Awards on Wednesday night, but also elsewhere during AmericanaFest: Tuesday, Sept. 19 at Americana Proud at City Winery at 9:30 p.m.; Thursday, Sept. 21 at WMOT Day Stage at Eastside Bowl at 4 p.m.; and her official showcase will be at Exit/In on Thursday, Sept. 21 at 8 p.m. (Plus, Riccio’s social media tease a “to be announced” appearance on Friday, September 22, so keep your eyes peeled.)
The Shindellas
Americana is all about making music outside the lines, about exploring the rootsy fringes of these genres we all hold dear. The Shindellas are one of the most exciting groups to come out of Nashville in recent memory, but because of their glitz, polish and crisp production values they’re rarely categorized as Americana – which they certainly can lay claim to, through blues, R&B, soul and so much more. Their new Louis York-produced album, Shindo, drops in October, so make sure you catch them this week on Saturday. You’ll be glad you did! See the Shindellas at the 11th Annual Thirty Tigers Gospel Brunch at the City Winery, Saturday, Sept. 23 11:00 a.m. to 1:00 p.m.; and their official showcase at the Basement East on Saturday, Sept. 23 at 7 p.m..
Dan Tyminski
The man, the legend, he needs no introduction to the BGS reader (except, perhaps, when introduced as his mononym, Tyminski). Hear Dan fresh off his Bourbon & Beyond appearance on the BGS Stage with his new bluegrass band lineup, who are certainly worth a listen, at their official showcase on Thursday, Sept. 21 at 10 p.m. at the Analog at the Hutton Hotel. This new lineup of pickers backing up the famed voice of George Clooney on O Brother, Where Art Thou? are one of the most exciting things to come from Tyminski, musically, in the last handful of decades.
YasminWilliams
If you’ve never seen Yasmin Williams play guitar, prepare to have your mind blown. Her approach to the instrument doesn’t just wow her audiences, it wows her fellow guitarists as well, from Bryan Sutton to Tommy Emmanuel. We’ve been fans of Williams for more than a few years, since before her Shout & Shine appearance even, and we’re glad to catch her again this week at AmericanaFest: “Wide Open Spaces – The Rise of Ambient Americana” Panel, Thursday, Sept. 21, 1 p.m. at the Westin Gulch I & II; “Who are the Gatekeepers of Americana Anyway” Panel, Thursday, Sept. 21, at 4 p.m., the Westin Gulch I & II; NMAAM Songwriters Round Friday, Sept. 22 at 12 p.m.; and her official showcase Thursday, Sept. 21 at the Blue Room at 9 p.m.
Poster graphic and photo of Keb’ Mo’ courtesy of the Americana Music Association.
Lead images: Yasmin Williams by Kim Atkins Photography; Amanda Fields & Megan McCormick by Lindsey Patkos; Adeem the Artist by Shawn Poynter; Michael Cleveland by Amy Richmond.
It was a wonderful night of music, celebration, reflection, and joy last night at the Ryman Auditorium as folks gathered for the 21st Annual Americana Honors & Awards.
Billy Strings was crowned Americana’s Artist of the Year, with Jerry Douglas presenting the award.
Triple nominee Allison Russell earned the Album of the Year Award for her record Outside Child, produced by Dan Knobler. She accepted the award from respected music critic and NPR writer Ann Powers.
Allison Moorer and Hayes Carll awarded two-time Artist of the Year Brandi Carlile for the Song of the Year with “Right On Time,” written by Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth.
The War and Treaty (Michael and Tanya Trotter) won Duo/Group of the Year after winning Americana Emerging Act of the Year in 2019.
On the heels of her new album Long Time Coming, Sierra Ferrell was also honored by the Americana music community and received this year’s Emerging Act of the Year Award.
Multi-instrumentalist Larissa Maestro took home the Instrumentalist of the Year Award, as Molly Tuttle recognized the Berklee College of Music grad. Maestro has performed and recorded with many high caliber artists and musicians, including Allison Russell, Mickey Guyton, Eminem, Ms. Lauryn Hill, H.E.R., Michael Bublé, Margo Price, and Gillian Welch and Dave Rawlings.
Highlights from the evening include Brandi Carlile and Allison Russell delivering a soul-stirring rendition of “You’re Not Alone,” as well as the iconic McCrary Sisters honoring their late sister Deborah (who passed away in June) with a chills-inducing performance of “Amazing Grace.”
Americana stalwart and reigning All-Star Band musical director Buddy Miller was surprised by Robert Plant, who presented Miller with The Lifetime Achievement Award, which was previously unannounced. Miller graced the audience with his classic “Wide River To Cross.”
Throughout the night, attendees were treated to additional performances by the Fairfield Four, Indigo Girls, Lucinda Williams, Adia Victoria, James McCurtry, Lukas Nelson, Morgan Wade, Neal Francis, The War and Treaty, Sierra Ferrell, and JP Harris honoring the late Luke Bell.
Previously announced Lifetime Achievement honors were accepted by the Fairfield Four (Legacy of Americana Award, co-presented with the National Museum of African American Music [NMAAM]), presented by NMAAM’s Katie Rainge-Briggs and award-winning producer Shannon Sanders; Chris Isaak (Performance), presented by Lyle Lovett; the late Don Williams (President’s Award), presented and accepted on behalf of the Williams’ family by producer Garth Fundis; Al Bell (Executive), presented by music executive and Chairman of the Black American Music Association Michael Mauldin; and the Indigo Girls (Spirit of Americana Award, co-presented with the First Amendment Center), presented by Brandi Carlile and First Amendment Center’s John Seigenthaler.
Here’s the full list of the 2022 Americana Honors & Awards Winners and Honorees:
Album of the Year: Outside Child, Allison Russell; Produced by Dan Knobler
Artist of the Year: Billy Strings
Song of the Year: “Right On Time,” Brandi Carlile; Written by Brandi Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth
Duo/Group of the Year: The War and Treaty
Emerging Act of the Year: Sierra Ferrell
Instrumentalist of the Year: Larissa Maestro
Legacy of Americana Award, presented in partnership with the National Museum of African American Music: Fairfield Four
President’s Award: Don Williams (posthumous)
Lifetime Achievement Award for Performance: Chris Isaak
About four years ago in Austin, Texas, Eric Burton and Adrian Quesada were recommended to one another through a mutual friend — someone who could imagine the inevitable magic of pairing Burton’s magnificent singing to Quesada’s cool, pulsating productions. Although these two musicians didn’t know each other, they somehow needed each other. As a songwriter inspired by folk music and soul music alike, Burton sought a vehicle to carry him from busking to the bigger stage, while Quesada — already a Grammy winner for his work with Grupo Fantasma — sought that voice to flesh out the instrumental tracks he’d crafted in his studio, Electric Deluxe Recorders.
Nobody could accuse them of rushing it, as phone calls turned into studio collaborations, and ultimately a few gigs at the South Austin venue, C-Boy’s, just to show their friends what they were working on. However, once the secret was out, the lines to see them perform stretched around the block and Black Pumas promptly landed a recording contract, with a self-titled debut album landing in 2019. Since then, their partnership has led to four Grammy nominations, a trophy for Emerging Act of the Year from the Americana Music Association, an invitation to perform a song for the Biden-Harris inauguration, and even a Super Bowl commercial. In conversation, they are quick to credit each other with the sonic touches that have turned this intriguing duo into an international draw.
For the first part of our two-part Artist of the Month interview with Black Pumas, Burton and Quesada chatted with BGS about the roots of “Colors,” their first show together, and what the Austin music community is really like.
BGS: Finding the acoustic version of “Colors” was such a nice surprise. What kind of vibe were you going for when you recorded that version?
Eric: I think that the first time Adrian heard “Colors” was when I brought the guitar to the studio. I had been trying to record that song with different engineers and producers, and a lot of my friends would reflect that, “Man, the acoustic version has always been my favorite!” When I finally met Adrian, who was equally moved by the song, we were able to not necessarily think about it, really. Adrian started with a palette of sound that went hand in hand with the way that I write music as well. We just did it together and it came out how it did. We have amazing band members and we were able to just press record and do the thing.
Adrian: We recorded quite a few acoustic things, and as much as “Colors” is a Black Pumas performance, at the core it’s something that Eric wrote on acoustic guitar. So whenever you get to hear it like that, it’s more from the source.
I love the acoustic version of “Fast Car,” too. What was going through your mind when you heard that on playback for the first time?
Eric: You know, any time I play that song, a tear comes to my eye because it is one of a few covers that I knew when I was busking. It was a song that would move people to stick around, or tip, or want to engage after the song. So, it was an interesting feeling listening back to that song as a Black Puma, with Adrian Quesada, because I could feel how far I’d come from busking on the Santa Monica Pier to recording at Electric Deluxe.
Is there a lyric in that song that still tugs at your heart when you sing it?
Eric: The lyric that I really attach to is “You’ve got a fast car and I want a ticket to anywhere.” The first lyric is one of the most powerful lyrics. It sets the emotional canvas for the rest of the song. It’s just reflective of the strong desire in many people who start off in the troubadour style of playing and performing, a presentation to passersby.
Adrian, how did you approach that session, being a classic song that everybody knows?
Adrian: Oh man, I just tried to stay out of the way, honestly. Eric’s played it for so long and so well. We were going to work up an arrangement for the band to start playing it at our shows, but we didn’t get it together in time, so he just did it himself as an encore one night. All of us were watching from the side of the stage. It was like, man, why would we try to reinvent the wheel? I just try to complement the song, and the way that Eric emotes it is something that doesn’t need a lot. You don’t need to overthink it.
I love the falsetto on songs like “OCT 33.” It’s effective because you don’t use it all the time. Did you have to figure that out naturally? Or was there ever a conversation like, “Whoa, too much falsetto”? Or, “I think we need more”?
Eric: Honestly I come from playing folk music. I love Neil Young and Bob Dylan and dig on the Beatles — so when I first started playing music, I was playing acoustic folk soul music. When I got Adrian some tracks, I was living with a roommate and he was saying, “Hey man, I think you’re singing a little bit soft on these songs.” I said, “What do you mean?” And he’s like, “Just go back and listen to Wilson Pickett and Marvin Gaye and Otis Redding,” and when I did that, I was able to kind of integrate the way Marvin Gaye did that head voice, like, “Oooh!” That’s kind of his move. So, I was able to borrow some of the razor-sharp vocal sounds that you hear in these individuals to make some better paints for the canvas that was Adrian’s awesome production.
Adrian, you have a great vocal range to work with. What is that like for you as a producer, knowing you could take these arrangements anywhere?
Adrian: Yeah, I’m a big fan of the falsetto, but I was digging everything he was throwing out. So, when he goes falsetto, I go for it. When it’s not falsetto, unless I feel like it doesn’t work, I just let Eric’s instincts guide him, and what he feels like singing.
What do you remember about the first show you played together?
Eric: It was amazing, right? It was rad.
Adrian: We didn’t even rehearse a lot. We threw it together in a couple of days and we didn’t know what we were getting into. I remember thinking, like, “All right, this should be fun. Worst case scenario, we could drink some liquid courage before the show and have fun. But it completely surpassed my expectations and it was a blast, man. Those early shows we did at C-Boys still live in my memory as some of the best times.
Why did C-Boys seem like a good place to kick this off?
Adrian: It feels like a cool, downhome, neighborhood bar that has amazing music. Steve Wertheimer, who’s the owner, really believed in myself and Eric early on. It’s a competitive town for live music and he’s always been a huge supporter. We just sent him a song and he dug it, and gave us a residency. It was pretty amazing that he took a chance on it. Eric did a solo residency for a while at one of his other venues. He was always a big supporter.
Tell me what you mean when you say that the Austin music scene is competitive.
Adrian: I would say “competitive” in the way that there’s a lot of talented people, but not “competitive” in a way that’s cutthroat, you know what I mean? I feel like there’s a good support system, where everybody’s supportive of people. It’s not competitive in that way. It’s like, you better bring something to the table because there are a lot of people that play and are very talented.
So when this was all happening, were you thinking of a record deal and management and all that? Or was it more about just getting together to play?
Eric: I think we were just both stoked to get on a stage. At that point, we had spent a few months together in the studio. Adrian presented some instrumentals that he was working on, for me to then write songs over. And then I was introducing myself to Adrian through my songwriting and sharing some of the music that I came up with, for him to arrange around. We were having so much fun that we were saying, “Well, we should take this to the stage, just to see what our friends think about it. I don’t think either of us invited too many people to the show, or promoted it, or anything big like that. We were just curious about how it would go over with the people that we know.
Adrian: We just played and we weren’t thinking industry. We were just going to have fun. Originally we thought we would maybe play for a month or two. We didn’t have a big plan other than to play music. We didn’t think that far into the future. We thought, “We’ll do this until it’s not fun.” There wasn’t a detailed, long-term plan for anything. One thing was just leading to another.
The Highwomen picked up three trophies for the Americana Music Association’s 19th Annual Americana Honors & Awards, which were revealed online today. The collective of Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires, joined fellow winners Black Pumas, Brittany Haas, and the late John Prine.
The Highwomen received the following awards: Album of the Year for their self-titled debut, produced by Dave Cobb; Song of the Year for “Crowded Table,” written by Carlile, Hemby and Lori McKenna; and Duo/Group of the Year.
Prine, who died in April, was named Artist of the Year for the fourth time since 2005. Black Pumas carried the Emerging Act of the Year category, while fiddler Brittany Haas won the Instrumentalist of the Year award.
For nearly two decades, the Americana Honors & Awards program has provided a unique platform for commemorating the best and brightest musicians in the Americana music scene at the historic Ryman Auditorium in Nashville. Due to the COVID-19 pandemic, in an effort to preserve the safety of musicians, fans and other members of the close-knit roots community, the Americana Music Association chose to forego having an in-person ceremony this year.
Photo of Black Pumas: Lyza Renee; Photo of The Highwomen: Alysse Gafkjen; Photo of John Prine: Danny Clinch; Photo of Brittany Hass: Michael George
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