LISTEN: Simon Flory, “Have Your Adventure”

Artist: Simon Flory
Hometown: Virgie, Indiana
Song: “Have Your Adventure”
Album: Haul These Blues Away
Release Date: February 26, 2021

In Their Words: “‘Have Your Adventure’ was a saying of my late Granny, Mariel Mae Summers Flory of Catlett, Virginia. It was a reminder to get out and see the world, make up my own mind about it, and also her way of saying I could always come home. It was the kind of knowledge gleaned from a life tethered to the seasons on our family farm for 91 years. I wrote this song as a mantra of sorts — we haven’t had a shortage of hardship in America lately, or opportunities for an adventure. My Granny would hope you’ve found your own.” — Simon Flory


Photo credit: Brooks Burris

WATCH: Nate Fredrick, “Paducah”

Artist: Nate Fredrick
Hometown: Springfield, Missouri
Song: “Paducah”
Album: Different Shade of Blue
Release Date: February 26, 2021
Label: Wanda Recordings/Queue Records

In Their Words: “Since moving to Nashville in 2015, Paducah, Kentucky, has been a point of reference on trips home to Springfield, Missouri. I knew if I could make it to Paducah, I was going to make it home. At times I wasn’t sure where home was for me and had an odd feeling of leaving home from both directions. It felt like a highway purgatory and I began to question where home really was.” — Nate Fredrick


Photo credit: Brooke Stevens

The BGS Radio Hour – Episode 198

Welcome to the BGS Radio Hour! Since 2017, the show has been a weekly recap of all the great music, new and old, featured on BGS. This week, we’ve got new releases from Lindsay Lou and Blue Water Highway while we continue to celebrate our artist of the month – Black Pumas! Remember to check back every Monday for a new episode of the BGS Radio Hour.

APPLE PODCASTS, SPOTIFY

Blue Water Highway – “Grateful”

This quartet – who come from a working class, small town Texas background – bring us a mixtape, featuring their big inspirations, from Bruce Springsteen to Phoebe Bridgers. Blue Water Highway graces our show this week with this tongue-in-cheek take on thankfulness from their upcoming album Paper Airplanes.

David Huckfelt – “Hidden Made Known”

Iowa-based singer and songwriter David Huckfelt brings a single to the show this week, from his soon to be released Room Enough, Time Enough. “‘Hidden Made Known’ is about having faith in the basic intelligence of the universe, and what to do next when you lose it,” Huckfelt tells BGS. “From Wounded Knee to Sault Ste. Marie, tenderness is on the run.”

Black Pumas – “Fast Car”

Our current Artist of the Month, Black Pumas, recently caught up with BGS to talk about their biggest influences, from a gospel music upbringing to original MTV. Black Pumas (Deluxe Edition) is up for Album of the Year at the GRAMMYs!

Miko Marks – “Hard Times”

Miko Marks is reclaiming the music that Stephen Foster appropriated his way to success with. In anticipation of her upcoming album Our Country, what better place to start than this famous song?

Sway Wild – “Edge of My Seat” (with Anna Tivel)

Sway Wild brings us this appropriately titled anxiety-inspired song from their upcoming self-titled album. Based in the San Juan Islands of the Pacific Northwest, the group is not alone in needing to share their mental struggles as we journey through 2021.

Anya Hinkle feat. Graham Sharp – “What’s It Gonna Take?”

From the mountains of Western North Carolina, Anya Hinkle and Graham Sharp (Steep Canyon Rangers) bring us this new single, written on May 26, 2020 – the first day without George Floyd. “Only by listening to Black voices are we going to know what it is gonna take,” Hinkle told BGS. “We are still so divided and will remain ignorant until we can absorb what it’s like to be Black in America.”

Lindsay Lou – “Alright Sweet”

No stranger to BGS and the roots scene, Lindsay Lou offers The Suite Sweets, four songs combined into two for an A and B-side single. Inspired by Immersion Composition Society (ISC) writing lodges, writing for hours as uninhibitedly as possible, the Nashville-based artist combined these song segments into something that was greater than just the sum of their parts.

Chris DuPont – “Sandpaper Hymn”

Chris DuPont brings us a song from Floodplains, out now via Sharehouse Audio. Writing during a time of loss, DuPont recognized an opportunity to grow, for the great “sanding” of loss to smooth out the rough edges, and to not let bitterness overshadow the narrative.

Sideline – “Just a Guy in a Bar”

IBMA award winning band Sideline tells this story through both song and visual representation. The video tells the story of the song in perfect synchronicity, pulling the viewer even deeper into the story.

Rhiannon Giddens & Francesco Turrisi – “Last Night I Dreamed of Loving You”

From our 2020 Whiskey Sour Happy Hour segment, we’re bringing back this haunting performance from roots artist Rhiannon Giddens accompanied by Francesco Turrisi. Giddens, who has been outspoken throughout her career about the African-American origins of country music, is another featured artist in our Black Voices segment, uplifting the disenfranchised voices in roots music that helped create the genre.

Beth Lee – “Birthday Song”

Texas-based Beth Lee wrote this song before her birthday, and sent it to Vicente Rodriguez for his birthday (who would go on to be her producer for the record). Recorded by Lee, Rodriguez, and James Deprato – who coincidentally had a birthday during the week of recording – this song was the first sign to Lee that her Waiting On You Tonight was going to be a good record.

Mark Erelli feat. Maya de Vitry – “Handmade”

Though not originally written as a duet, nothing suited Erelli’s song better than vocal accompaniment from Maya de Vitry. Without holding anything back, they emphasize the song’s message – that we all have the opportunity to make something new.


Photos: (L to R) Black Pumas from the Late Show with Stephen Colbert; Rhiannon Giddens & Francesco Turrisi by Ebru Yildiz; Lindsay Lou by Scott Simontacchi

BGS, Yamaha Guitars Partner on Folk Alliance Spotlight Showcase

BGS is proud to announce our partnership with Yamaha Guitars for Folk Alliance International’s 2021 virtual conference, Folk Unlocked. Join us on Thursday, February 25, 2021 at 5:30pm CST for the Yamaha + BGS Spotlight Showcase, hosted by friend of BGS and acoustic blues and Americana veteran Keb’ Mo’.

Yamaha Guitars tapped BGS to collaborate on the curation of the Spotlight Showcase, which highlights Yamaha official artists, instruments, and gear as well as music from folk scene stalwarts and newcomers alike — from all across the continent and around the world. The hour-long virtual showcase features intimate, acoustic performances that certainly capture the atmosphere of connection and discovery that typically permeates FAI’s in-person conference.

Yamaha official artist Katie Cole performs during the Spotlight Showcase.

To lead us off, Australian singer-songwriter Katie Cole flavors the program with her pop-influenced alt-Americana material. A fresh face in bluegrass and old-time, Bella White sings her original Gillian Welch-meets-Hazel Dickens tunes with a warm honey yodel just breaking through her voice. You’ll also hear a captivating performance from Joy Oladokun, one of the buzziest names in the indie-folk world at the moment, and soaring tunes from American-Canadian folk duo Birds of Chicago, who headline the event with a trio set that feels as full band as a pandemic would allow. Our talented host, Keb’ Mo’, will treat our audience to a couple of selections as well.

In the coming weeks, BGS and Yamaha will release individual sessions from our Spotlight Showcase film! Stay tuned for more music and content from this exciting partnership.

Joy Oladokun is featured during our Yamaha + BGS showcase.

In place of an in-person conference this year, Folk Alliance International is hosting Folk Unlocked, a five-day virtual event for the entire international folk community to come together for panels, workshops, showcases, affinity and peer group meetings, exhibit spaces, networking, and mentorship. FAI are actively unlocking the doors and windows of the house of folk to be as broad and inclusive as possible, inviting those who have been loyally attending Folk Alliance International conferences for years while aiming to reach folk musicians and professionals who have never benefited from or attended FAI before.

Usually, the in-person version of this amazing event is only available to artists and industry professionals, but this year, thanks to the virtual nature of the conference, anyone can tune in from anywhere! Conference registration and Spotlight Showcase and Unlocked Showcase access are all available on a sliding scale, with the cost to attend being decided by each individual. In addition, donors to Folk Alliance’s Village Fund receive showcase access as well. There are so many ways to support Folk Alliance and attend our Yamaha + BGS Spotlight Showcase.

Get more information on Folk Unlocked and find out how to attend our Spotlight Showcase on Thursday, February 25 at 5:30pm CST here.


 

MIXTAPE: Music to Drive Your Kids Around (Without Driving Yourself Crazy)

Among the many writer’s hats I wear is one of children’s music reviewer. When my daughter was in grade school, it was fun playing various kids CDs for her. She’s in college now, so those days are gone. I did keep her in mind, however, when putting together this playlist, thinking about songs that she would tolerate listening to now.

A lot of people associate children’s music merely with those simple, preschool music-time tunes about numbers, letters, and other lessons for toddlers. And there certainly a lot of those songs. But, as in any genre, there is a lot of interesting children’s music being made too.

This mixtape is a “mix” in a several ways. It mixes together songs by “adult” musicians who have ventured nicely into the family music world as well as children’s musicians with what some might call “crossover potential.” There are originals and covers. Fast songs and slow ones. And hopefully it’s a mix that Bluegrass Situation families can enjoy on an hour-long drive, whether it’s a fast drive or a slow one.

To create some parameters, I chose recordings released since 2000, only recordings made for children, and, yes, only recordings found on Spotify (I couldn’t find Jessie Baylin’s Strawberry Wind or I Love: Tom T. Hall’s Songs of Fox Hollow or else they might have been represented here). Also, I also stayed away from songs that seem to appear on every fourth children’s album (sorry, “Rainbow Connection”). — Michael Berick

The Okee Dokee Brothers – “Hope Machine”

These “brothers,” Joe Mailander and Justin Lansing, have put out a handful of excellent, old-school, folk-inspired albums that mix originals with traditional tunes. You can hear the Woody Guthrie influence in this cheery, gently philosophical original from their 2020 album, Songs for Singing. Here, as in all their music, there’s a wonderful, easy-going approach that doesn’t dumb down to kids.

Elizabeth Mitchell – “Blue Sky (Little Martha Intro)”

This Elizabeth Mitchell isn’t the actress from Lost, but the singer/guitarist from ’80s indie rockers Ida. Over the past 20 years, she has also made many terrific children’s albums, mainly for Smithsonian Folkways. Featuring nifty guitar playing from her husband and longtime collaborator Daniel Littlefield, Mitchell’s acoustic cover of this Allman Brothers classic hails from her Blue Clouds album, where she also reconceives Bowie, Hendrix, and Van Morrison songs.

Randy Kaplan – “In a Timeout Now”

On his album Mr. Diddie Wah Diddie, Randy Kaplan has great fun taking “poetic license” with old blues tunes and, in this case, the Jimmie Rodgers hit “In the Jailhouse Now.” Kids will love the comical lyrics and parents will appreciate Kaplan’s inventive, child-friendly renovations on roots music nuggets.

Laura Veirs – “Soldier’s Joy”

I read somewhere that “Soldier’s Joy” is one of the most played fiddle tunes of all time — and that it was a slang term for morphine during the Civil War. Veirs, who hails from the Northwest indie rock scene, keeps her version on the toe-tapping PG side. This duet with The Decemberists’ Colin Meloy comes from her highly recommendable, and only, children’s album, Tumble Bee.

Wee Hairy Beasties – “Animal Crackers”

This kooky side project by alt-country all-stars features Jon Langford (Waco Brothers/The Mekons), Sally Timms (The Mekons), Kelly Hogan, and Devil in the Woodpile. Pun lovers of all ages will revel in the wild wordplay running through the title track to this decidedly goofy 2006 album.

Little Mo’ McCoury – “The Fox”

Little Mo’ McCoury arguably stands as the most authentic bluegrass album for children, at least in the 21st century. Ronnie McCoury leads his family band through a set of old-timey tunes plus “You’ve Got A Friend” and “Man Gave Name to All the Animals.” While there are some overly familiar choices (“This Old Man,” “I’ve Been Working on the Railroad), “The Fox” provides a frisky workout of this bluegrass standard.

Meat Purveyors – “The Crawdad Song”

“The Crawdad Song,” along with “Froggie Went A-Courting/King Kong Kitchie Kitchie Ki-Me-O” must rank as the traditional tunes most frequently recorded for children. I included “Crawdad” here because it is the one ingrained more in my brain. And I picked this version because of the Meat Purveyors’ speedy bluegrass-y rendition. You’ll find it on Bloodshot Records’ irreverent kids’ compilation, The Bottle Let Me Down (although parents might want to listen to it before sharing with their little ones).

Red Yarn – “Rabbit in a Log”

Red Yarn (the nom de plume for Oregon-based musician Andy Furgeson) makes rootsy music that appeals to all ages. He frequently travels an early rock and roll route but he follows a more acoustic road on this hopped-up banjo-powered take of the old folk tune that appears on his Born in the Deep Woods album.

Johnette Downing – “J’ai Vu Le Loup, Le Renard Et La Belette”

Louisiana music is a popular Americana style in children’s music, probably because it so easily gets kids dancing. On her album Swamp Rock, the New Orleans musician Johnette Downing does a marvelous job presenting, and explaining, a variety of Louisiana-bred music and culture. This bilingual animal tale (“I Saw the Wolf, the Fox and the Weasel”) showcases two Cajun greats: fiddler Joel Savoy and accordionist Roddie Romero.

Kare Strong & Josh Goforth – “To The Country We Will Go”

Slowing down the tempo a bit, “To the Country We Will Go” offers a leisurely family trip. This song, as with most Kare Strong’s music, contains elements of English folk ballads. Providing the banjo, fiddle and other musical accompaniment is Josh Goforth, a bluegrass vet who has played with David Holt, Appalachian Trail, and Carolina Road.

Francis England – “Blue Canoe”

Sticking in the traveling mode, “Blue Canoe” is a charming little outing from Francis England, who makes consistently excellent music for families. This tune appears on her debut, Fascinating Creatures, an album where I would recommend “Charlie Parker” and “The Books I Like to Read” too.

Dan Zanes featuring Valerie June – “Take This Hammer”

While Zanes is right at the top of the best-known kids musicians today, I couldn’t resist including something by him. He has a whole bunch of fine tunes to choose from and I wound up landing on this one, which he sings with Valerie June, from his 2017 tribute album, Lead Belly, Baby!

Sarah Lee Guthrie – “Go Waggaloo”

I couldn’t exclude the name “Guthrie” from this mixtape. For this title track to her family music album, Sarah Lee (Woody’s granddaughter and Arlo’s daughter) wrote a song using unpublished lyrics her grandfather had written. Starting off like a silly sing along, the tune quickly goes deeper becoming a somewhat autobiographical look at Woody’s life.

Josh Lovelace with Spirit Family Reunion – “Going to Knoxville”

Lovelace took a break from his day job as keyboardist in rock band Needtobreathe to make a kids album. A standout track on Young Folks, “Going to Knoxville” is joy-filled, driving-in-a-car love song, with Spirit Family Reunion’s Nick Panken and Maggie Carson contributing some singing and banjo playing.

Beth Nielsen Chapman with Kid Pan Alley – “Little Drop of Water”

Kid Pan Alley, a Virginia-based nonprofit, sends songwriters into schools to collaborate with students. Chapman wrote this song with a third-grade class. Besides its strong message about water conservation, it’s pretty darn catchy too. My family still remembers it over a dozen years after the disc was last in our car’s CD player.

Justin Roberts – “Rolling Down the Hill”

One of the most skillful songwriters in the children’s music scene, Roberts usually operates in the pop/rock field, so this is a rare tune of his with a fiddle. Roberts injects just enough details into this playful ditty to make it resonate with both parents and kids — without slowing down the momentum.

Shovels & Rope with The Secret Sisters – “Mother Earth Father Time”

The just-released third volume in Shovels & Rope’s Busted Jukebox series is a set of family-oriented covers entitled Busted Juicebox. The husband-wife duo Michael Trent and Cary Ann Hearst partnered with The Secret Sisters for a sweetly sung rendition of this tune from the 1973 animated film version of Charlotte’s Web.

Sarah Sample and Edie Carey – “If I Needed You”

These two singer-songwriters teamed up back in 2014 to make ‘Til the Morning, a lullaby album that shouldn’t just be restricted to nap time. This Townes Van Zandt gem was a particularly inspired choice and their tender interpretation is quite moving.

Alastair Moock with Aoife O’Donovan – “Home When I Hold You”

Moock is a Massachusetts singer-songwriter whose family albums often tackle themes like inclusivity or social action. This track comes from Singing Our Way Through, an inspiring, powerful work he made for families dealing with pediatric cancer. His duet with Aoife O’Donovan conveys a simple yet poignant message of love from parents to a child.

Sara Watkins – “Pure Imagination”

Watkins’ first family album, Under the Pepper Tree, arrives on March 26, and its first single offers an appetizing hint of what’s to come. Watkins’ heavenly, soaring vocals highlight her gorgeous rendering of this Charlie and the Chocolate Factory tune. And celebrating the magic of creativity and the freedom of possibilities seems like a sweet note to leave families with.


 

WATCH: Judith Hill, “Baby, I’m Hollywood!”

Artist: Judith Hill
Hometown: North Hollywood, California
Song: “Baby, I’m Hollywood!”
Album: Baby, I’m Hollywood!
Release Date: March 5, 2021
Label: Regime Music Group

In Their Words: “‘Baby, I’m Hollywood’ is a defining statement for me. It sums up all of the drama, love, and pain that surrounds my life as an entertainer. I personify Hollywood as a woman who has become her own rock in spite of a very unstable world. She will take all of the pain and turn into the performance of her life because that’s what she was born to do. The show is not only a spectacle but a service because it puts words, music, lights, and costumes to our secrets and inner battles, giving them a safe place to live.” — Judith Hill


Photo credit: Jeremy Jackson

WATCH: The Wild West, “Better Way”

Artist: The Wild West*
Hometown: Los Angeles, California
Song: “Better Way”
Release Date: February 26, 2021
Label: Blackbird Record Label

In Their Words: “When the idea of ‘Better Way’ formed, society was and still is struggling with the differences that divide us. If one does not take the time and compassion to honor differences and look at the commonality that unites us, it’s blinding and tears us apart. Lyrically the idea of being born with love and born without hate is at the root of ‘Better Way.’ Finding the way back to that innocence, compassion and understanding brings a hopeful lens for the future if we can hold onto it and lift each other up. This group of women does exactly that for each other.” — Manda Mosher

*The Wild West: Tawny Ellis (vocals, lap steel, omnichord); Amilia K Spicer (vocals, guitar, mandolin, keys); Pi Jacobs (vocals, guitar); Manda Mosher (vocals, guitar, harmonica); Heather Anne Lomax (vocals, guitar); Deb Morrison (vocals, bass guitar)


Photo credit: Jason Willheim

WATCH: Amythyst Kiah, “Black Myself”

Artist: Amythyst Kiah
Hometown: Johnson City, Tennessee
Single: “Black Myself”
Release Date: February 19, 2021
Label: Rounder Records

In Their Words: “‘Black Myself’ is the first song I’ve written that was confrontational. I’d always made it a point to sing songs that anybody could relate to, but this was something that had been welling up inside me for a long time. The reception of the song so far has given me hope that there are people out there who are ready to confront the shared trauma of racism, to look within ourselves and see how we might be perpetuating racist beliefs, and to do what is needed to create equality for all people.” — Amythyst Kiah


Photo credit: Sandlin Gaither

The Local Honeys: Rooted in Appalachian Folk, Communicating to the World

In normal times, you might find Kentucky-hearted duet the Local Honeys touring the UK or out on the road with folks like Colter Wall and Tyler Childers. But, like so many, the past year has been a paused their movement, allowing space and time to experience life in a way that most busy artists rarely get to.

Many caught wind of the group after a viral New York Times article in late 2020 about our nation’s cultural depression. But like other defendants of Appalachian people and culture, Montana Hobbs and Linda Jean Stokley, who make up the pair, have been outspoken via their music for a long time. Their new double-sided single continues a demand of accountability from big industry. “It’s a modern anthem of the American working class,” said Stokley.

BGS caught up with the Local Honeys to talk about these two songs — “Dying To Make a Living” and “Octavia Triangle” — as well as the message in their music.

BGS: In the before times, you’ve led pretty busy schedules, including multiple international tours. What have you been up to since the pandemic began?

Montana Hobbs: Well, I can tell you what we’ve be into. We’ve been in our jammies a lot! But you know, we’ve experienced probably a similar story to anybody else that has been in the gig industry. We’ll all remember it as a point in our lives and a point in our careers that was kind of sedentary, if you will. I think our story is not much different, we’ve had more time at home to focus on things that we don’t get to do on the road – like exercise, cook at home, read. At the new year we both decided that we weren’t gonna think so much about what this past year has been, but think more about what this new year is going to be for us.

Linda Jean Stokley: In 2019 we went on about five separate concert tours. So the beginning of 2020 was our last tour, we were all over the UK as well as greater Europe, on our own headlining tour but also supporting Tyler Childers. That was a huge tour, and it really took a lot out of us, so it was kind of welcoming to have a little bit of a break after that. But over this past year, we have done a few cool things. We went on the Tyler tour, we got signed to La Honda Records — that’s a pretty big deal for us. We love everything that they do, and have been constantly inspired by them. Our management and being with a label have proven so helpful, even during this time, to have someone like our manager that is so good about keeping our spirits up. Another thing that we’ve done this past year is put out a Western AF video, and that was a highlight. We didn’t get to do much, but what we did was really welcomed.

In a time of so much uncertainty, what inspired this new release?

LJS: We recorded those in October of 2019, and we’d been working on trying to change up our sound a bit, to make our sound bigger but not non-traditional, kind of neo-traditional. So we were thinking in 2020, how are we gonna release these songs? Then in October 2020, our friend Jimmy McCowan, who’s on one of those tracks, suddenly passed away from a heart attack. So, we talked to La Honda and asked if we could finally get these out. That’s kind of what spawned the release of this A-side/B-side single.

These songs show two perspectives on life in the coal mines: working like hell to provide for your family, while enduring personal struggles both medical and mental. What are you trying to tell the rest of the world about these Appalachian issues?

LJS: In July of 2019, there was a blockade in Harlan County, [Kentucky], and over a thousand miners in central Appalachia were out of work, because of the Blackjewel mining company. They went bankrupt, and they didn’t tell anybody. They didn’t tell any of their workers until the day of. In the middle of the day, they said, “this is your last day.” That is completely illegal. It was strange that it had to happen in Harlan County, which is so synonymous with all these bloody labor wars. To have something like this happen with one of the largest coal companies in the nation just shows that they can get away with all kinds of unlawful behavior. These people, their checks bounced. Of course that’s going towards their mortgage or rent, but it’s also going towards their medical costs, because there are so many disabled miners. We started thinking about this song more and more. We sang it a little bit, but didn’t have a need to sing it necessarily because we didn’t have anything to say. When we were on tour a lot, we would tell the story of what was going on, and put song and emotion into what’s happening, to get people to listen.

MH: To add on that, the song became more relevant to us in this time frame. It was a song that we were familiar with, via the band Foddershock, but also Rick & the Po’ Folk, Rich Kirby and his traditional band, and Pierceton Hobbs [who released his own version in 2020]. Basically, we felt like when you’re given the stage to speak on things like this, you might as well take advantage of the time and the attention that you’ve been given. Make that time worth it, and get a message that you feel is important across. When we would go over to England, which is also a very post-coal society that we didn’t know much about, we had firsthand connections where they told us stories of tragedy, how their grandfathers were miners, and so on. It made the whole history of traditional music come full circle for us, to where we had the opportunity to sing a song, but we also had the opportunity to tell a story of where we’re from and what’s happening where we are. Which is what traditional music was in its first iteration. 

I know that you both, along with other musicians, visited the miner’s blockade. What was that like?

MH: We went and visited the miner’s blockade in August. We just went down there and hung out with these people, they had their entire families on the train tracks. They had little encampments set up. People like Brett Ratliff, Rich Kirby, Tanya Turner at the time worked for Appalshop, went down there with us. Son, it was so hot. It was very much like third world conditions in what’s supposed to be the greatest country.

The week before, we were at Cowan Creek Mountain Music School in Whitesburg, Kentucky. Jim McCowan has been a member of the faculty there probably as long as the school has been around. This guy in my class asked, “Have you heard the song that Jimmy’s mother wrote?” We were both very close to Jim, he was a very bright light. So I sat on a picnic table with him and said, “I heard that you do a song your mother wrote.” And I’m one of those people that’s a real sneaky recorder with my phone, and I have about a 10 or 15 minute clip of him playing this song called the “Octavia Triangle.” He had such a beautiful delivery of the song.

We were thinking of something that would pair well with “Dying To Make a Living,” which is economic hardship, being pushed under the rug. Even though this work is essential, they’re being treated less than they’re worth. So then I thought that “Octavia Triangle” completely highlighted what it is to actually live, and work, and die, and love, in the coalfields. This was a true story that happened in Pike County, Kentucky. Who’s to blame other than these harmful practices which we still practice today?

As a fellow musician from Central Appalachia, I feel like Foddershock (who wrote “Dying”) rarely get the attention or recognition they deserve. Do you have a favorite album, or a starter pack for those who have never heard the band?

LJS: I absolutely love Foddershock, I’m always trying to find their CDs. I’m waiting on WV [Hill] to send me some recordings. Obviously, I think “Dying to Make a Living” is one of the best places to start. I would also say “Eat Possum & Prosper” is one of my favorite tracks of theirs. And I really love “When Coal Was King.” There’s one that’s called “Live in a Trailer.” “Cahoots,” as well. 

Do you have any new goals or ideas to try for when things turn around and we can all get back on the road?

MH: Hmm… we are ready and willin’! Open for suggestions, open for bookings… But like I said before, this is a time that we will all remember as a pause in our lives and a pause in history, even though it’s been a hell of a lot of history put into one year. We’ve been granted this time to kind of work on things, we’ve been writing a lot. It’s always been something we’ve done and tried to practice, but now it seems like it’s at the forefront of our minds. We want to be seen as not just traditional musicians, not just old-time musicians, but we wanna be known as songwriters as well. Carrying on that storytelling, and showing how I feel about what’s going in the time and place I’m from. That’s one of the biggest connectors in music in general, it’s saying you’re not alone. Like when we went to Wales, even our song “Cigarette Trees,” which is about strip mining, people would come up to us and say, “They do that here too, and we don’t like it either.”

LJS: We’re finding so many relatable things to talk about when we tour in the UK specifically. Touring has really given us a way and a platform to connect with all these people around the world that are dealing with similar situations. Every time we go anywhere, we talk to people about the whole idea of ‘saving Appalachia,’ and trying to tell people that no, we have to pay attention to the causes of poverty and suppression that are happening within our state and within the entire southeast region. We don’t need saving, and we don’t need developing — we need somebody to actually understand what is going on in our area. We’re looking forward to reconnecting with people.


Photo credit: Zachary Martin

WATCH: Cristina Vane, “Prayer For the Blind”

Artist: Cristina Vane
Hometown: Turin, Italy
Song: “Prayer For the Blind”
Album: Nowhere Sounds Lovely
Release Date: April 2, 2021

In Their Words: “‘Prayer For the Blind’ is inspired by a friendly couple I met while camping on the border of Nebraska and Iowa. She told me her mother suffered from dementia, but that it couldn’t help but make her laugh when her mother claimed that her husband was cheating on her, going dancing with a woman with two peg legs, and that she was going to wring her neck. The anecdote got me thinking about how we try and find levity in heavy situations, and also about the bond between mothers and daughters and the intergenerational burdens that can be passed along through them. I wanted to find a tone that matched the difficult nature of these questions, and the lonesome modal banjo seemed perfect for that, paired with Nate Leath’s great fiddling. The issues of motherhood and illness are no new phenomenon, so I thought old time sounds fit the theme well — you can’t beat a fiddle and banjo!” — Cristina Vane


Photo credit: Oceana Colgan
Video credit: Jeremy Harris