Tag: Americana

BGS UK Preview: The Long Road

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There aren’t many British festivals that get American roots music as right as The Long Road. One of the UK’s biggest celebrations of country and Americana, it made a stellar debut last September. BGS is thrilled to be heading back to Stanford Hall, Leicestershire, where we’re once more curating the Honky Tonk stage in the afternoon on Sunday.

Here are just a few highlights heading your way at one of the most epic festival weekends of the year:

Friday, 6 September

You’ve just got away from work and you’re still feeling a bit stressed. Can we recommend you head straight for Jake Morrell at the Honky Tonk, and let this Nashville-by-way-of-Norfolk singer ease your pain?

Failing that, Katy Hurt is opening the Interstate stage, with The Cactus Blossoms following straight behind. If you’re still needing some catharsis, don’t miss Sam Outlaw’s set; if you’re ready to party, the CC Smugglers will help you shake it all off. With fifteen acts across three stages, there’s plenty to warm you up for the big two days ahead.

Saturday, 7th September

Where to start? Is it Jessie Buckley’s intimate lunchtime set, which we guarantee will have a crowd spilling out of the sides of the Honky Tonk? Or Jake Morrell of the Civil Wars on the Interstate stage? From the searing honesty of Roseanne Reid, to Curse of Lono’s Gothic rock show, to the out-and-out hilarity of Rich Hall’s Hoedown, there’s something for every mood.

There’s also an all-day schedule of ridiculously entertaining activities including a lasso workshop, the Cowboy Olympics and a hot dog eating contest. Oh, and did we mention that Kip Moore is headlining on the Rhinestone Stage? Yeah, that Kip Moore.

Sunday, 8th September

We think this’ll be the best day — but then, we’re biased, because from 2pm onwards, we’re getting to handpick who plays in our own personal Honky Tonk bar, and that includes Rose Cousins, Beth Rowley, and Jessica Mitchell. We’re also hosting the Long Road’s first ever Songwriting Parlour, led by Matt the Electrician, in the intimate, in-the-round style of the Bluebird Café in Nashville.

What else do you want — Rhiannon Giddens? Asleep at the Wheel’s first UK performance in 10 years? A DJ set from the Flying Mojito Brothers? Oh all right then, you can have them. They’re on the stage next door. And with BGS’s takeover ending at 8.15 pm, we won’t even take it personally if you head off for Josh Turner’s headline set.

WATCH: Billy Strings, “Taking Water”

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Billy Strings is at it again! The Nashville musician is taking bluegrass to new heights with his ferocious flatpicking and classic writing style that connects traditional folk fans to modern roots music lovers. Here’s a sneak peek of his new album, Home. Check out the lyric video for “Taking Water.”

Photo credit: Shane Timm

LISTEN: Justin Wade Tam, “Colors of My Mind”

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Artist: Justin Wade Tam
Hometown: Nashville, Tennessee
Song: “Colors of My Mind”
Album: A Place to Land (EP)
Release Date: October 25, 2019
Label: Tone Tree

In Their Words: “‘Colors of My Mind’ is in part about how a consistent space can foster creativity and peace. For me, that place is my living room, where I’ve been writing songs for nearly 13 years. It’s a quiet, contemplative room with natural light that shifts nicely throughout the seasons. I’ve written the better part of five albums within those four walls, so I wanted to capture it musically. My friend Jordan Lehning produced this song beautifully and insisted that we record it live. You can hear the reflections of the live studio in the recording, which to me sounds very reminiscent of my living room and the peace of simply sitting quietly and creating.” — Justin Wade Tam

Photo credit: Jacq Justice

WATCH: Jeremy Garrett, “I Can’t Lay Your Lovin’ Down”

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Artist: Jeremy Garrett
Hometown: Loveland, Colorado
Song: “I Can’t Lay Your Lovin’ Down”
Album: Circles
Label: Organic Records

In Their Words: “‘I Can’t Lay Your Lovin’ Down’ was a song that I co-wrote with Jon Weisberger and Josh Shilling. I just loved the vibe of the tune and how it fit with my style, so I decided to record it on my upcoming solo release, Circles. I blend guitar, mandolin and fiddle with a looper to create this arrangement for the song. Conner Pannell shot the video for me and I love how he captured this song. All of it was shot in the studio, partly while tracking and in-between takes.” — Jeremy Garrett

Photo credit: J.Mimna Photography

Them Coulee Boys Find Their Muse

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The tendrils of Them Coulee Boys’ bluegrass roots have often reached out into the realms of punk, rock ‘n’ roll, and beyond. Die Happy, the newest album from the Eau Claire, Wisconsin-based string band, is a beautiful and introspective journey toward finding community in our human imperfections. Produced by Dave Simonett of Trampled by Turtles, the project stands out for its sonic consistency and deeply personal, yet relatable lyrics. A phone interview with lead singer Soren Staff revealed the story that Them Coulee Boys wish to tell with the record.

BGS: Describe the experience of making this album. Were there any particularly challenging, rewarding, or memorable parts?

Soren Staff: Well, we recorded at Pachyderm Studios. The whole history of that place is insane. We made the record 25 years to the month from when Nirvana was in there making In Utero. Seeing pictures from that time and it looked exactly [the same]; in the middle of January, so a bunch of snow. That in and of itself — and hearing about the other people who recorded there — brought a certain weight of, “This is something completely different.” We’ve recorded in living rooms, and farm houses, and small do-it-yourself studios so this was definitely a whole different thing for us.

Explain the band’s relationship with Dave Simonett. How was creative control shared between the band and the producer?

I would say there’s a little bit of both [taking control]. The reason we really wanted to work with Dave was that he’s made all of those great records with Trampled by Turtles being the bluegrass band, which is where we started, and he’s also made some great rock ‘n’ roll albums with his Dead Man Winter project. We try to straddle that sound a little bit and made sense to have that on there. He has experience with both of those sounds so when we wanted a little more of “this” or a little bit of “that,” he knew what we needed. I think the big strength with Dave’s production was giving us some agency over our own work.

We’ve always been confident in what we wanted to do. We’ve always had a big vision for what we wanted to make, but you get in a studio with a guy like Dave, who, we had met him in the past and had nice interactions with him, but he’s still the dude that I once waited like six or seven hours in line to see. It was one of those kinds of things where I think he knew that we saw him in a certain way, and he used that to inspire a little bit of confidence in us.

Once we got to that mode we became really comfortable with him, like an idol turned to a friend. It was a cool energy, because we obviously had tremendous respect for him. It was hands-on, in that he knew when to assert himself, but also hands-off in that he knew what we wanted was what the project needed.

Was this album written in a condensed time span, or over a longer, drawn-out series of experiences?

I would say it was more condensed. Our first record was just everything I’d written up until that point, then the second record had leftovers from that record and a few others I had written to add it all together. But with this one, I had gone through a breakup … and was searching for something.

Before this album was called Die Happy, we were going to call it “My Anxiety & Me,” which is the last track. It’s framed as this journey. The first few tracks are alluding to, “I’m going to win somebody back. I’m going to get to this place and get us back to where we need to be.” With this record the whole writing process started as me processing this relationship and processing what happened, and it came more to an acceptance of myself and my mental illness. Trying to come to grips. And not in a negative way, but in a positive way that, “This is me, and this is a part of me that I can navigate.”

It was definitely a record that was all written in this one point in time and that definitely shows through a little bit. All the songs have references to each other, and it’s all that same moment for me.

Did that theme evolve throughout the process of making the album?

This is the most I’ve ever planned what I was going to talk about. I write about what comes to mind at the moment when I’m trying to write, but when I started writing for this one I was noticing a lot of common themes and a lot of common ideas. I did want it to be about that self-acceptance because that was something that I was working on personally in my life. Trying to get to that point of being OK with what I was and what I am. It started as trying to be a collection of those kinds of songs, and then sonically we had some fun stuff going on, so we wanted that theme to come through in the music as well. We’ve always wanted to be this kind of band. I don’t think we were capable of it in the past, but I think we’ve grown into what we wanted to sound like.

Is there any particular song that you believe sums up the message of the entire album?

The last one, [“My Anxiety & Me”]. … It’s not a single and we recorded that song with just one mic and the room mics. It doesn’t have that shiny production or the sound of the rest of the album, but lyrically that’s what we were getting at. That song is about accepting who you are and realizing that a lot of those low points are going to help you get to where you need to be. I wrote that while we were recording. It was the only thing that I hadn’t written [yet], because I knew that was going to be the last song we recorded, so I wanted to live in that moment and write in that moment. It summarizes a lot of what I’m trying to say.

Has the new album changed the dynamic of your live show?

We’ve gone to full-time having drums. In the past we toured as a four-piece: banjo, guitar, bass, and mandolin. So now we’ve actually gotten a little louder live, but we also try to strip it all down because you play those rock songs and then strip it all down to nothing and play songs like “My Anxiety & Me” or “5’6” Monument.” Putting those in the live show has given us a different wrinkle. We’ve always had those kinds of songs but haven’t really played them because we’ve always been hired to play the big, fun, exciting stuff. It’s fun to show a different side of us every once in a while.

If you could pick one setting in which to listen to this album, where would it be?

There’s this bar in Eau Claire called The Joint. It’s this townie bar where all the musicians hang out, all the art kids from the university, all the old fogies. It’s got the cheapest beer and they’ve got this 25-cent jukebox. I would love for that to be the first place I actually listen to it. I think that would be such a great place to finally sit and take it all in, because it’s a place I love.

It’s a record, that, while it’s a personal journey, it’s asking — like in that first song — “Is it just me … or does everyone else feel this way?” It’s about seeking community in the stuff that we keep to ourselves, so I think being in a space like my favorite bar would be a perfect place to listen to it.

How has your sound evolved between this album and your previous one, Dancing in the Dim Light?

We’re more conscientious of our tone and how it all fits together. We’re louder now in some moments because of the drums but we’re quieter in other moments. We care a lot more about the tones of what we’re doing and how it all fits together than we have in the past. This is a much more cohesive sound. I think that’s the biggest change. We care more about it all fitting together than “let’s get as many great songs as we can.” Not that these aren’t great songs, it’s just that we wanted them all to fit together more.

Photo credit: Kyle Lehman

Tanya Tucker Remains a Songwriter’s Muse (Part 2 of 2)

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Tanya Tucker isn’t known as a songwriter, although “Bring My Flowers Now” from her newest album, While I’m Livin’, shows she can hold her own. Across four consecutive decades of charting singles, she relied largely on the Nashville songwriting community — and in turn, she’s served as a muse for them. Among her forty Top 10 country hits are classics like “Delta Dawn,” “Strong Enough to Bend,” and “Two Sparrows in a Hurricane.”

Now, her life is the inspiration behind the songs of While I’m Livin’, produced by Brandi Carlile and Shooter Jennings. A bulk of the material was written specifically about Tucker by Carlile and her musical comrades Tim and Phil Hanseroth (a.k.a. The Twins). At her producers’ insistence, she also cut material formerly recorded by Miranda Lambert (“The House That Built Me”) and Waylon Jennings (“High Riding Heroes”).

In the second half of our Artist of the Month interview, Tucker talks about the songwriters she’s known, the mysteries of songwriting, and the left-of-center producer that she credits with her career. (Read the first half of the interview.)

BGS: I read that you had Loretta Lynn in mind while writing “Bring My Flowers Now.”

Tucker: Yeah, I was on the way to Christmas in Texas on the bus. And she called me, or I called her, and we’re always talking songs. She says, “We gotta write something together. You gotta come on over here and write. Me and you gotta write a hit.” And I said, “Well, I got this idea, let me sing a little bit to you. I’ve had it for years, but I just can’t find anything to go with it.” And I sang her the chorus and she goes, “When you come back through here, you gotta stop in here. We’ll finish that song. I love that idea.”

So I went out to California in the meantime, and I guess I’d sung it for some reason to Brandi — and I’m sure I sung a few ideas to her. But then she brought it up the last day of the sessions and we cut it right after we finished writing it. And then it became the title, so yeah, that’s pretty cool.

Yeah, it’s such a minimal production on that song.

That was always her thing. She told me, “It’s time that we hear your voice and it’s been so covered up, and so in the mix. And it’s time for people to hear the real Tanya Tucker, and you don’t need a lot of crap over it and a lot of production.” She’s very into that — very raw, real, flaws and all.

I wanted to ask you about Tom T. Hall because he’s popular among our readers, and he’s in the Bluegrass Hall of Fame now. He’s written a lot of bluegrass hits.

Oh! I had no idea. I’ve been thinking about him a lot lately. We text, I text him. Johnny Rodriguez and I were together the other day, talking about how Tom T. brought him to Nashville to play guitar. And how I toured with him. I used his van when I was a kid. That was always hard because some people didn’t like you using their van. But he was very cool with it.

I was 14. We had dinner one night and even back then he said, “You know, you gave me a great idea for a song.” So I guess I’ve always come by it naturally. Now songwriters hang out around me, just knowing any minute something’s gonna come out of my mouth. I can’t tell you how many big songs that were my idea. But I didn’t write it, so that’s the way it goes.

I’m a great idea person. I’m a great hook person. But it’s just like “Bring My Flowers Now,” I had the chorus but I could not find the meat. I had the bread, but no meat. And if you don’t have that, then you might as well hang it up. Sometimes it takes a catalyst to get that out of you. Gary Stewart was that way with me. … He could somehow get things out of me. I’ve known some people that can just be in a room, while you’re in the room writing, and just bring it out without even realizing it.

I don’t know what it is. Writing a song is very hard to explain in words how it happens. It’s almost like you have to explain it after, “Well that happened. Curiously, it happened this way.” I don’t really think about it much. Harlan Howard always told me, “Oh, you’re a writer trying to get out of a singer’s body.” Max D. Barnes was a good friend of mine and he said, “If you just sit down and focus for a few minutes, I bet we would write at least three standards.” At least three. So I’ve had the greats say things like that to me — and mean them.

You’ve been listening for great material from the very start of your career.

When I was a kid, one day I said to Billy Sherrill, “I’m getting a little irritated. You know, you write all these songs for Tammy Wynette and you ain’t never written one for me.” And he goes, “Well, let me tell you why.” Either he knows how to build a fence real quick or he was really being honest, and he said, “It’s because I have never written a song that’s as good as you are a singer.” And I went, “Oh, well that was really cool. I’m not sure I believe that shit.” But he did finally write me one and I did record it. It wasn’t a single. It was called “I Guess I’ll Have to Love Him More.”

I used to fight with him about recording some songs. “Almost Persuaded” — he goes, “Nah nah nah, we don’t need to do that.” And I’d go, “WE’RE GOING TO DO THAT!” I had someone tell me the other day, “God, I loved the way you sang ‘Almost Persuaded.’” It was a totally different change from the boy to the girl. But he never did want me to cut any of his songs and I had to fight him to do it. Sure miss old Billy. I give him all the credit. Without him, I don’t think any of this would have happened.

He set the stage for you.

Well, he listened to me. They’re walking out of there going, “What the hell?! This guy’s lost his mind listening to this kid.” Because I turned down “Happiest Girl in the Whole USA.” I said, “Love the song, it’s great, but it’s not my song.” And then when he played “Delta Dawn,” with Alex Harvey on guitar/vocal, and I went, “There you go. That’s my song.” And he listened. I didn’t record anything that I didn’t want to with Billy.

He was a little left-of-center and I’ve always said that anybody that gave me a chance in life was… maybe dealing with more decks of cards, a little off-center. Because anybody logical, who had a watch, was on time, never gave me a shot. It was always those people that were just a little crazy…

I’m so proud to have known some of those boys. Oh my god, all my boys at CBS [Records] were really great. When Billy signed me, the record label thought he was crazy, too. But they couldn’t mess with him too much because he had all the hits on the charts. They thought he was kind of strange, actually very strange. And he was. He wasn’t a normal kind of guy. At all. So, those kind of people, I have a soft spot for because they’re the ones that gave me my chance, my shot.

Your fans are going to hear this and might say, “Well, this is different.” What do you hope they hear in this record?

Well, I hope they like it. “The Wheels of Laredo” is a good song, but it’s not “Only two things in life make it worth living.” It didn’t grab me like that, but it’s grabbed everybody. I’m amazed that they like it as much as they do. People have come out of the woodwork, they’re sending me videos of them listening to it in Canada and in the pool, Buck Brannaman riding in the arena to it — and it’s just like, “Whoa, what is it about this song?”

I really don’t know. I can’t put my finger on it, but I’m glad it’s happened. I bet it’s like what Elvis felt when they gave him “Hound Dog” – “What the hell?! I ain’t singing this: ‘You aint’ nothing but a hound dog, cryin’ all the time.’” Like, “OK, no…” And then he cuts it and it’s a big ol’ smash. Makes you second guess yourself a little bit.

So I really don’t have any explanations of how all this happened and why. I look at all that stuff up there [plaques on the wall]. It’s not all the stuff I’ve done, but it’s a lot of my work and my catalog and my albums. But I never would’ve imagined this album would do what it’s done. Really. I have no answer for it, I have no explanation.

Photo credit: Danny Clinch
Illustration: Zachary Johnson

LISTEN: Jason Tyler Burton, “Fires of ’88”

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Artist name: Jason Tyler Burton
Hometown: Pinedale, Wyoming
Song: “Fires of ’88”
Album: Kentuckian
Release Date: August 26, 2019

In Their Words: “I worked seasonal jobs for a while as a park ranger and climbing guide. I was living out of a minivan, and that transient lifestyle is appealing in so many ways. When you get tired of someplace or some job, you just go find the next one. So this song is about moving on, letting go, and welcoming change. It’s also about not running from your past or trying to reinvent yourself by moving away, because, in my experience, that doesn’t work.” — Jason Tyler Burton

Photo credit: Erica Chambers

Tanya Tucker Just Might Prove Her Dad Right (Part 1 of 2)

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Although her voice is instantly identifiable to even a casual country listener, Tanya Tucker has perpetually reinvented herself in the public eye since she debuted with “Delta Dawn” in 1972. From a mature teen singer in the ’70s, a scandalous star of the ’80s, and an award-winning vocalist in the ’90s, it’s never been easy to define her.

Now she’s back with While I’m Livin’, a stunning song cycle that shows her tender side as well as her rowdy, ready-to-party personality. It’s her first album of new material in 17 years, and by working with producers Brandi Carlile and Shooter Jennings, she’s made the most striking album of her career. Here’s the first of our two-part interview with Artist of the Month, Tanya Tucker.

BGS: I’m sure you’ve been approached to make a record over the last 17 years. What was it about this situation that made you say, “Yeah, let’s do it”?

Tucker: I’ve been working on other projects that I’m doing on my own. I’m really proud of those things and I hope that they see [a release]. I feel like this album, for some reason, is going to open that door. It seemed like before it was low interest. I don’t feel like there was a lot of interest. Maybe there was, I didn’t know about it, but when Shooter said something to me about it, I was like, “Yeah, great, great…” I went off and did Tucson and forgot all about it.

But I came back and it snowballed, and before I knew it, I was in LA doing some recordings on songs that I really didn’t know. I do my deal. I’ve done it all my life. When a song is pitched to me, I put my own something on it — I’ve changed a lot of ‘his’ to ‘her’ and made it my own. That’s one of the biggest compliments I’ve gotten from songwriters. I’ve heard from many of them that I can take their song and make it my own. They’ve always told me that, so it’s a very big compliment to me and I think that’s important. But this kind of came out of nowhere. I really can’t explain it. It kind of just happened and I don’t know how it happened. It did though. I’m pretty sure.

I’ve heard it, it’s real.

I think it is real. I’ve listened to it a few times and the good news is that the more I listen, the more I like it. Because it started out not that way.

What was your first impression of the final product?

I said, “No! Absolutely not.” I just didn’t hear it. I didn’t hear the songs as being anything I could really get into, or put my heart into. I really didn’t think it was going to be that good. I was wrong, and I love being wrong. I mean, I’m wrong a lot, but I was really wrong about that.

What was the relationship like in the studio with Shooter, and what’s he like as a person?

Well, Shooter’s great. I’ve known him before he was Shooter. But if you really would concentrate the time we spent together — very little time. But we spent more time probably on this project than we ever had, and we’ve become best friends. I wouldn’t say I had any better friends. He’s as good as any friend I’ve got.

Good. How about Brandi?

Oh, Brandi. She’s not even right. She is not local. She’s not of this world, she’s just in it. Yeah, she’s very exceptional. Something about her communication skills — maybe it’s just me, I don’t know, but I’ve watched her with everybody and you see the respect people have for her. … That’s the way that you want it to be. The way we made that record — I wish they were all that way. Brandi’s the same way [as Shooter]. I feel like she’s my best friend, totally. And I’d never heard her sing. Not until the Grammys and we were already done with the album.

What did you think when you heard “The Joke”?

I was blown away. Yeah. Blown away. And I loved “That Wasn’t Me.” I think I’m going to learn that one. I may not record it but behind closed doors I may learn that song. If anything, to just say thanks. Hell, she knows all of mine, I should probably start learning a couple of hers, you know? I’m way behind.

Well, it’s important who you surround yourself with. I mean, I don’t have to tell you that.

It used to be really hard for me to see anything bad about anybody. My dad was real good at seeing it before they even knew they were. He was very good about that. I hope that I am acquiring his skills. I’m still not as good as he was.

About a week ago, I read Nickel Dreams [Tucker’s 1997 memoir] and he was like your co-star in that book.

Yeah, well, he is the star, as far as I’m concerned. I’ve never read the book, but they’re on to me about writing another book. I really think that’s the real story. If there was a movie, I believe it should be his life. And then when I get started, that would be the end of the movie. Sequel! I plan ahead. But I think his story is phenomenal and it really needs to be told. His life was pretty unbelievable.

Your childhood is pretty interesting, though, too. Living in Utah…

Arizona, Nevada, and Arkansas.

It is a very dramatic life.

Yes.

It would work well for a script.

Yeah, well, I lived it, so it’s not so interesting to me, but maybe it is. And if it is, then that’s great.

What do you think your dad would say about this record if he had a chance to listen to it?

Oh wow, that’s a good question. Wow, oh wow…. Well, I’d have to say I believe he would love it because there’s two or three songs in there about him. The Twins [Carlile’s longtime bandmates, Tim and Phil Hanseroth] and Brandi actually wrote and custom-fit those songs to me, which is a real talent right there. One that I do not have, among others. But they have the talent. I don’t know if they have it all the time or if it was just this one time. They brought it all together. I don’t know. But I know that it’s unusual.

In fact, Brandi said, “God, I’d give anything if I could’ve met your dad.” And I told her, “Well, he didn’t like many people, but I do believe he would’ve liked you. I really do.” … I think he would like those songs but I think he would definitely be proud of “Bring My Flowers Now”. Because he always told me — Oh my God! You know what? I just figured something out.

What’s that?

My dad told me once, he said, “Let me tell you something.” He said, “The biggest record you’ll ever have, it’ll be the one that you wrote.”

How old were you when he told you that?

Oh, he told me several times. I was already started. I mean, it wasn’t when I was a kid, but many times he’d tell me that. “That’s what you need to do, is write.” But he didn’t like the association that I had to associate with to write. Because back in the day, party party party. Stay up all night, write a few songs. Stay up for a few days and something’s going to come out of it. He didn’t like that part of it. Now it’s become like a business. Meet me at 8:30 and we’ll write until 10:00, we’ll be done before noon.

But you had the Song House, which I read about in your book. You lived there, and then all the songwriters would come over.

Yep, right. Yep, that’s true.

So you love that association.

Oh yeah. I love to party, too, so it all kind of went hand in hand, like alcohol and cigarettes, or cocaine and cigarettes, and alcohol. And blackjack, throw that in there.

Read the second part of the interview.

Lede photo: Derrek Kupish

LISTEN: ‘The Peanut Butter Falcon’ Soundtrack

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The Americana-based soundtrack to The Peanut Butter Falcon features new and classic songs from Sara Watkins, Gregory Alan Isakov, The Staple Singers, The Time Jumpers, Ola Belle Reed, Chance McCoy, Parker Ainsworth, Butch Walker, Paris Jackson and Jessie Payo, as well as a score composed by Zach Dawes, Jonathan Sadoff, and members of The Punch Brothers. The heartwarming film written and directed by Michael Schwartz and Tyler Nilson premiered in March at the South by Southwest Film Festival where it won the Audience Award in the Narrative Spotlight category.

The Peanut Butter Falcon tells the story of Zak (Zack Gottsagen), a young man with Down syndrome, who runs away from a residential nursing home to follow his dream of attending the professional wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church). A strange turn of events pairs him on the road with Tyler (Shia LaBeouf), a small time outlaw on the run, who becomes Zak’s unlikely coach and ally. Together they wind through deltas, elude capture, drink whisky, find God, catch fish, and convince Eleanor (Dakota Johnson), a kind nursing home employee charged with Zak’s return, to join them on their journey.

“Michael Schwartz and Tyler Nilson are very musical and it was clear they heard what they wanted the film to sound like as they wrote the script. We discussed scores they liked as well as a curated playlist that felt aligned with the characters and place. ‘Atomic Throw,’ at the end of the picture, is my favorite musical moment because it serves the fantastical elements of the story – the music branches off from previous arrangements and instrumentation in a nice ethereal manner. I hope audiences see the importance of human connection and how integral that is to love and happiness. Family is what you make it and never be afraid to trust or love someone, or something.” — Zach Dawes, composer and music supervisor

“Music is an essential element in The Peanut Butter Falcon. One of the tracks that feels really special to us is the end credits song ‘Running for So Long (House a Home).’ It was the last cue left unfilled and the whole team was trying to find something with the right feeling to leave the audience with. After countless suggestions, we invited our good friend Parker Ainsworth to come over to write something with us in our living room a week before the movie went to final mix. Within three hours we had written the song, recorded it on an iPhone, cut it to picture, and sent it to our producers.” — Michael Schwartz & Tyler Nilson, writers and directors

“When my good friend Tyler told me about The Peanut Butter Falcon, and played me the song his friend Parker co-wrote for the film, ‘Running For So Long (House a Home),’ I was very excited and couldn’t wait to start recording. I suggested to bring Paris Jackson on board for some accompaniment — she has been a family friend for many years and she had just recently done some backing vocals on a record of my own. Everyone involved thought that she was perfect for the song and her vocals gave it a very special note, just like I feel the movie is. We also ended up putting a third singer on with them named Jessie Payo, who was Parker’s suggestion and I LOVE the result. The Peanut Butter Falcon is such a beautiful story with a wonderful (and much needed) message right now, that touched me deeply every single time I watched it — and I’ve watched it multiple times now. I’m sure it will touch the hearts of so many others as well.” — Butch Walker, music producer

WATCH: Michaela Anne, “By Our Design”

Posted on by Editor

Artist: Michaela Anne
Hometown: A little bit of everywhere – Washington, California, Virginia, Michigan, Italy, and Brooklyn. Currently Nashville.
Song: “By Our Design”
Album: Desert Dove
Release Date: September 27, 2019
Label: Yep Roc Records

In Their Words: “‘By Our Design’ is a reflection on my life… I started it one day at home in Nashville and finished it when I was spending a couple days writing in Santa Barbara between tour dates in California. I’m definitely someone who revels in alone time and was having a couple of those days loving driving up the coast and hiking by myself. I had second-guessed making the trip altogether so in that moment there, I was thinking how lucky I was to get to have that freedom… and most importantly to have a partner that supported living life however we choose to.

“It may not be ‘steady’ or ‘stable’ or financially promising or secure… but every step of the way we’re figuring it out and have a lot of adventures, experiences and creative pursuits that keep us going. Essentially, examining what it is that makes us wealthy in our life on our own terms versus what we’ve learned society might tell us are the markers of a successful life.

“Making this live video was such a wonderful experience. We were able to assemble some of my favorite Nashville musicians: Kristin Weber (my longtime collaborator, string player, BGVs), Aaron Shafer-Haiss (my longtime collaborator/drummer), Juan Solarzano on guitar, Sam Howard on bass, and Will Honaker on keys. We did multiple songs that day and each song the amazing crew at Layman Drug Co. changed the lighting, vibe, mood of the room to emulate the song. There’s this soft-lit glow almost towards the golden hour that felt very easy and fitting to set the tone for the song.” — Michaela Anne

Photo credit: Matt Wignall