WATCH: Birdtalker, “Better Days” (Live in Nashville)

Artist: Birdtalker
Hometown: Nashville, Tennessee
Song: “Better Days”
Album: Birdtalker
Release Date: October 8, 2021
Label: AntiFragile Music

In Their Words: “This song captures a sober moment of realization and the choice to grasp at hope rather than drown in the breakdown. Musically, it’s lush and flowing, as if you’re floating through the experience in a dream state, lulled into acceptance and moving forward but not grounded. This atmosphere is created by the lilting, at times questioning, bass line and the fluttering and tactile percussion which both give the song an intimate feeling of humanity, as if they represent the wanderings of a questioning heart and its fluttering uncertainty. The flesh surrounding the song’s heart is the regular thrum of the acoustic guitars and the layered harmonies that build throughout. We went through a bit of a journey in the studio figuring out the instrumentation and tone of the song. It began with a more straightforward and confident presentation which we eventually scaled back to this more organic approach, leaning into the song’s uncertainty and delicacy.” — Birdtalker


Photo credit: Jeremy Cowart

The Show on the Road – Madi Diaz

This week on The Show On The Road, we go on a deep dive with Madi Diaz, a sought-after Nashville-based songwriter who may have dropped among the most devastating and powerful break-up albums of the decade with her newest LP History Of A Feeling, a searing debut on Anti- Records.

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If you’ve made it to the doldrums of your mid-thirties, you’ve probably had your heart broken once or thrice. Diaz is no exception, except unlike the rest of us who may try and forget all about those lost love affairs, Diaz does the opposite. She chronicles the destruction of her last relationship with a craftsman’s precision, creating a series of unvarnished, seething, diaristic songs about an ongoing and fractured grieving process.

Diaz opens with the gut-puncher “Rage,” which says a lot even if it’s under two minutes long. Is it ok to not be ready to move on? To hate that you HAVE to move on? Soon after she’s “Crying In Public” and immediately after that she’s baring her teeth in the standout acoustic single “Resentment” — which was initially covered by moody pop hero Kesha. Does it get brighter from there? Not exactly, but it’s better that way.

It could be way off base, but maybe History Of A Feeling is our updated Jagged Little Pill without the pop artifice. Not that Diaz sings at all like Alanis Morissette, but a similar hope for heartbroken catharsis weaves its way throughout. Working with Big Thief collaborator and soulful producer Andrew Sarlo surely helped capture the intimate vibe, with certain songs barely needing more than a guitar and her direct, cutting voice. Without an army of synths or the armor of an orchestra behind her, or the security blanket of a band smoothing out the edges, the rawness of the emotion in each song sings out louder.

Diaz grew up in Lancaster, PA with a dad who had his own Frank Zappa cover band (she mentioned that she indeed had her own teen version) and then later dropped out of Berklee College of Music to hit the road with her own work. She has never been afraid to pick at the shrapnel in some of her deepest wounds to create songs that leave their own mark after you listen. She’s put out more atmospheric, pop-forward work — like We Threw Our Hearts In The Fire (2012) and Phantom (2017) — for a decade, but this quieter, more personal record feels like she’s finally found her sound.

Pulling no punches, Diaz includes a song like “Man In Me,” which references a long-time partner who transitioned to female. In a way, it was almost a double-loss, one that left her feeling confused and guilty for feeling angry at all. And yet — when we reach the end of History Of A Feeling, the feeling we get isn’t bitterness or rage any longer — it may be that most elusive of the grieving steps: acceptance. And maybe even forgiveness.


Photo credit: Lili Peper

LISTEN: Swamptooth, “The Owl Theory”

Artist: Swamptooth
Hometown: Savannah, Georgia
Song: “The Owl Theory”
Album: B-Flat Earth
Release Date: September 17, 2021

In Their Words: “This song was written by guitarist Jay Rudd. In the Netflix series The Staircase, crime novelist Michael Peterson was convicted of murdering his wife who was found dead at the bottom of the stairs in their home. A few years later a neighbor brought forth a new theory that an owl had attacked Peterson’s wife on her way inside the home and she had fallen down the stairs during the resulting confusion. Many have argued that the theory is plausible due to evidence such as microscopic owl feathers found in her hand. This song manifested after visualizing the owl attack and subsequent fall down the staircase.” — Swamptooth


Photo credit: Kelly Roetto

Grace Pettis, With Support From the Indigo Girls, Reconnects With “Landon”

Grace Pettis tells a dramatic story of regret in “Landon,” as she carefully weaves together her account of what happened in small-town Alabama when her childhood best friend came out of the closet. Instead of finding the loving support of a close friend, the song’s subject found judgment and scorn.

“Landon needed somebody to be on his side. He trusted me. And I let him down,” she says. “Instead of listening and responding with love and acceptance, I replied with a lot of canned answers taken from my Christian belief system, what the church taught me to say. Years of soul-searching, prayer, and information gathering led me to a very different place. I knew that I had wronged Landon in a way that I could only explain in a song.”

Years down the line and now based in Austin, Texas, Grace Pettis wrote her heart’s sorrow and contrition into a song that can only suggest the emotional complexity of her experience. But this story doesn’t end here. Thankfully, the subject of the song heard her words and the two have mended their fences. “We are in a great place now,” she says. “He’s forgiven me, and we get to be close in a new way, now that we’ve made peace with ourselves. We’re both living a true story now.”

In July, Pettis released a new version of the song (after the original acoustic video premiered on BGS), this time backed by the Indigo Girls. In addition, the new music video features the very friend who inspired the song. Take a look at “Landon.”


Photo credit: Nicola Gell

LISTEN: Tony Kamel, “This River”

Artist: Tony Kamel
Hometown: Austin, Texas
Song: “This River”
Album: Back Down Home
Release Date: September 24, 2021
Label: The Next Waltz

In Their Words: “Making music for a living is a privilege afforded to few. If you’re lucky, people may even want to see you play it. That’s a wonderful thing, but it comes with some caveats. You miss your family and friends. Even when you’re home, you play at night or on weekends when they’re home from work. But that’s just part of the deal. Would be great to make some good money doing it, too. Maybe one day…. We recorded this on the pre-production day in the studio, the day before we really got started. It was supposed to be a demo. Josh Blue played an old 1960s Maestro drum machine while I took a stab at it. It sounded really cool so we just kept it and added slide guitar by Geoff Queen and harmonies by Kelley Mickwee later.” — Tony Kamel


Photo credit: Josh Abel

The BGS Radio Hour – Episode 217

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week we have California country from Elijah Ocean and the Ben Reddell Band, acoustic folk goodness from Anna Tivel, a final farewell to our August Artist of the Month Amythyst Kiah, and much more.

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Amythyst Kiah – “Black Myself”

In our recent two-part interview with our August Artist of the Month, Amythyst Kiah, she spoke with us about faith, about mental health and singing vulnerable, open songs every night, and the intent behind lyrics and songs like “Black Myself.” Plus, she retells the series of events that helped her leave her “shut-up-and-sing” policy behind. Thank goodness for that.

Chris J. Norwood – “Good Guy With a Gun”

On “Good Guy With a Gun,” singer-songwriter Chris J Norwood examines the grief and loss of his father’s suicide while challenging the United States’ gun culture: “Truth be told, we as a country need to talk more openly about suicide. Especially as it relates to the gun debate…”

Ava Earl – “New Light”

One of the first love songs singer-songwriter Ava Earl ever wrote, “New Light” is also a little existential — it deals with the wonder and mystery of the universe as well as that of love.

Elijah Ocean – “Honky Tonk Hole”

As Elijah Ocean himself puts it: “‘Honky Tonk Hole’ is about a guy who has seen better days and whose big dreams have all gone up in smoke. Now he spends all his time drinking and playing country music in bars. Not entirely sure why he’s complaining about it, though. Seems kinda fun and not a bad life. It’s a high-energy shuffle about falling into a rut but also kind of loving it.”

Ben Reddell Band – “12 Bar Blues”

Musician and frontman Ben Reddell recently put together a Mixtape celebrating bands and artists who have played The Grand Ole Echo, a roots music concert series he books at LA’s Echo Park, or who rely on the creative and rehearsal space he manages, Bedrock LA. To quote: “We love our traditional country here in Echo Park, but we also like to let our freak flag fly with the hippie-dippie, pot-smoking types as well.” Check out the community-minded Mixtape here.

Kashena Sampson – “Hello Darkness”

Nashville-based Americana singer Kashena Sampson brings us a Shocking Blue cover that carries a feeling of yearning for someone you can’t be with.

Morningsiders – “This Could Be Good”

Morningsiders began writing their new album after the pandemic lockdowns began. They wanted “This Could Be Good” to be dance-y and delicate while being about aimless nights out with friends.

Anna Tivel – “Illinois”

Singer-songwriter Anna Tivel talked with us about her pre-show rituals (or lack thereof), drawing inspiration from literature and poetry, observing the natural and manmade world, and more in a recent 5+5.

Anya Hinkle – “Why Women Need Wine”

Asheville’s Anya Hinkle told us about the massive influence Gillian Welch had on her musically, combining the spirits of musicians who had influenced Hinkle early on — like Tony Rice, the Grateful Dead, Joan Baez, Sarah McLachlan and Madonna — into one tangible, modern, and original roots sound. Read more in this edition of 5+5.

Jay Nash – “Shine”

Jay Nash wrote “Shine” inspired by the new arrival of his daughter. It took him nearly ten years to return to the song idea: “Because, as all parents know, what followed those calm and quiet moments of parenthood was an all-out sprint… a crash course [of] becoming a parent.”

Dallas Burrow – “My Father’s Son”

On his new track, “My Father’s Son,” self-described troubadour Dallas Burrow tells the four-generation story of the men in his family line — and the influence they’ve had on their sons. It’s a tender, honest, autobiographical history.

Lonesome River Band – “Every Minute Means a Mile”

The Lonesome River Band pays tribute to the Easter Brothers on their upcoming album, Singing Up There: A Tribute to the Easter Brothers. And “Every Minute Means a Mile” is an uncomplicated Easter Brothers classic.

Adeline Stringband – “Hickory”

Adeline Stringband — a veritable old-time supergroup featuring Chris Coole, Mark Kilianski, John Showman, Adrian Gross, and Sam Allison — holed up in a cabin in the woods and recorded old time tunes for three days and three nights. Gross describes it as one of the most off-the-cuff and creative sessions he’s ever been a part of: “Seeing as it was -20º and there was a blizzard outside the whole time, there was nothing to do but pick tunes and roll the tape, and that’s exactly what we did.”

Jackson Melnick – “John the Revelator”

“Apocalypse isn’t to be confused with tragedy. Apocalypse is seeing something in truth, and the pain that might come from having the blinders pulled off.” Jackson Melnick brings us a bluegrass version of this classic blues song.


Photos: (L to R) Elijah Ocean by Wolfe & Von; Amythyst Kiah by Sandlin Gaither; Anna Tivel by Matt Kennelly

BGS 5+5: Jason Eady

Artist Name: Jason Eady
Hometown: Stephenville, Texas
Latest album: To the Passage of Time

Which artist has influenced you the most … and how?

Merle Haggard. No question about it. I have learned from him in every way. His effortless style of singing, the simplicity in his writing style, the way he covered different genres, the way he managed his career, all of it. Everything I do is in some way influenced by Merle Haggard, whether I’m aware of it or not. I think he was the best all-around country artist who has ever lived.

What other art forms — literature, film, dance, painting, etc. — inform your music?

I’m very into photography lately. I got into it about four years ago as a way to have a hobby on the road and it really took. I didn’t realize when I started that it would affect my music the way it has. It has changed the way that I see the world, specifically in looking for more details. After a while with photography, like songwriting, you realize that you’ve exhausted everything that you can see on the surface and you have to start looking deeper for details. Seeing those details through photography has definitely expanded my imagery in my songwriting.

What rituals do you have, either in the studio or before a show?

Quiet. That’s the most important pre-performing ritual. I need time to focus and center. If I go straight from noise and commotion to the stage, it can take a while for me to relax into what I’m doing. I always try to set aside the 30 minutes prior to performing to just be quiet and get centered and ready.

Which elements of nature do you spend the most time with and how do those impact your work?

When I’m on the road I try to make an effort to stop every day and just walk, preferably in nature. This job can be very chaotic at times, and intentionally stopping to walk and look around is a great exercise. If I can walk somewhere quiet then that’s even better. I’m very aware when I come across places where there is no noise. It’s crazy that when you start looking for that you realize how hard it is to find. Just complete silence. But when I find it I try to stop and appreciate it, and what a rare moment it is.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Almost always. Every character I write has some version of me in them. It’s not always 100 percent true, and usually isn’t, but there’s always some truth about me in there somewhere. I honestly don’t know if I’d be able to write a character that is completely separate from me.


Photo credit: Brandon Aguilar

MIXTAPE: Ana Egge’s Addiction to Melody

One of my favorite things in life is hearing a song for the first time that I know I need to hear again, immediately! Something about the melody or the horn part or the harmony part that catches my ear and get’s stuck in my head. Whenever that happens it’s like I need to understand why it’s so infectious. Usually I end up getting out my guitar and learning the song. It’s always fascinating to get inside a song that someone else has written. It’s a magical way to know someone. Feeling how and why they drop the beat going into the chorus or how they hold a chord longer into the bridge that gives it that special something. Here’s a short list of songs that have affected me this way over the years. — Ana Egge

Flo Morrissey & Matthew E. White, written by Kyle Field – “Look at What the Light Did Now”

My friend Mike Ferrio (Good Luck Mountain) put this as the last tune on a mixtape CD for me a few years ago. I learned it and kept showing it to all of my musician friends.

The Zombies, written by Chris White – “This Will Be Our Year”

I heard this on a TV show I think, can’t remember which one. I had no idea who it was by and I was surprised to find out how long ago it was released. It sounded so fresh! The instrumentation, the sounds, the delivery. And I still can’t get over the incredible chord progression.

The Be Good Tanyas, written by Berzilla Wallin – “Rain and Snow”

I grew up with The Grateful Dead version of this song. I just love how Frazey adds the oooh oooh‘s onto the end of the word snow. Such a great soulful addition and original interpretation of this classic murder ballad.

Phoenix, written by Christian Mazzalai – “1901”

What’s not to love about this song? I can’t sit still when it comes on. I love how they play off the beat so much!

Dengue Fever – “Tip My Canoe”

I’ve probably listened to this song more than anything other song since I got a Dengue Fever two-disc collection at a record store in Toronto on tour a few years back. It’s SO delicious and trippy and great everyday.

The Shins, written by James Mercer – “New Slang”

Such a beautiful melody and evocative lyrics. I don’t always necessarily understand what he means to say, but I feel it.

Antony & The Johnsons, written by Anohni – “My Lady Story”

Oh my god, so beautiful! Beautiful and intense and unique.

Bee Gees, written by Barry & Robin Gibb – “To Love Somebody”

One of my very favorite songs ever. How much better can a song be? They nailed it.

Gnarls Barkley – “Crazy”

Oh that dropped beat. And the melody! So cool how it builds and such a killer chorus.

Amy Winehouse – “You Know I’m No Good”

Incredible personal songwriting. So unflinching and honest and melodic. And such an upbeat feeling while being so depressing. Amazing.

Bon Iver, written by Justin Vernon – “Skinny Love”

I learned this to sing at my friends wedding a few years back. Once again, just magical what an original artist express when they have an inspired idea and melody over Am and C, y’all!

Kimya Dawson – “Anthrax”

I moved to NYC right after 9/11 and went to a talent hour type show. Burlesque and poets and then Kimya Dawson got up and sang a few songs. Her band The Moldy Peaches had recently broken up (I hadn’t heard of them). I bought every home-burned CD she was selling and loved them all. But this song about 9/11 is just brilliant.

Elizabeth Cotten – “Freight Train”

I don’t remember how I old I was when I first heard this song. But I do remember feeling like I’d always known it. It’s damn near perfect. Beyond the truth and depth of experience expressed in this song, I really love the big move to the E major in the key of C.


Photo credit: Shervin Lainez

WATCH: TK & The Holy Know-Nothings, “Serenity Prayer”

Artist: TK & The Holy Know-Nothings
Hometown: Portland, Oregon
Song: “Serenity Prayer”
Album: The Incredible Heat Machine
Release Date: October 15, 2021
Label: Mama Bird Recording Co.

In Their Words: “It’s a woozy, merry-go-round day-in-the-life of a local musician making good for about two hours every evening. It’s also somewhat of an ode to the dubious magic of Northwestern Freak Country and the bars that shelter it. The suits requested we put the song to moving picture, so we drove out to a little bar at Our Lady Of Perpetual Heat Recording Studio & Spa to hole up for the night. Having no money, no planning, and one day, it seemed fitting. We would have been there anyway.” — Taylor Kingman


Photo credit: Matthew Kennelly

WATCH: Sara Trunzo, “Nashville Time”

Artist: Sara Trunzo
Hometown: Unity, Maine
Song: “Nashville Time”
Album: Cabin Fever Dream EP
Release Date: September 24, 2021

In Their Words: “One reason I was excited to have this song show up for me was that it encapsulates my most recent chapter of orbiting the axes of Nashville and coastal Maine. At first edit, I worried the song mixed too many different images and place-based metaphors, but that’s actually a good reflection of my voice and life. I’m a northerner who loves the south, a flip-flopper between music and community organizing, a New England veggie farmer with visions of sequin dresses and high-end Nashville recording studios dancing through her head. I’m not a purist. I often wish I was, because it’d be handy to be able to say, ‘I’m a teacher and I live in Bangor,’ but being a seasonal, migratory, hybrid creature seems to be more in the cards for me.

“Because I had lived in Maine for most of my adult life, coastal life and the water have shown up in many songs. I have REALLY missed the ocean during the seasons I lived in Nashville. ‘Nashville Time’ surprised me with the amount of nautical references that stuck, as I didn’t have much firsthand experience with sailing at the time of writing. But since coming back to Maine after the start of COVID, I have fallen in love with sailing to the extent that I’m now living aboard a 30ft sloop on Penobscot Bay.” — Sara Trunzo


Photo credit: Chip Dillon / Blue Horse Photography