Kris Delmhorst is not a good sleeper. The Western Massachusetts songwriter is usually awake from 2 or 3 a.m. to about 4 or 5 a.m. Sometimes it feels nice and floaty, but other times she is wide awake worrying about anything her brain can get a hold of. This is similar to a feeling with which she ended her tenth record, Ghosts in the Garden, with the song “Something to Show.” Thankfully, she set us straight and explained that, indeed, the track is a hopeful prayer that she will have something to show for all the questioning, trying, pushing through, and general work that she and fellow humans are doing. Too bad it can’t happen in the daylight hours. In our conversation for Basic Folk, we talk about this and the other themes and songs on the new album, like the unbearable emotional density of summer ending, ambient restlessness during destruction, carrying unresolved loves, and, of course, death.
Kris experienced a great loss in 2021 with the death of her dear friend and collaborator Billy Conway. Her husband, Jeffrey Foucault, memorialized Billy in his 2024 album, The Universal Fire, which he called “a working wake” for their friend. He appeared on Basic Folk and spoke at length about Billy and what he meant to the Boston music community. I encourage you to listen to that conversation and Jeff’s record. Kris had known Billy for many decades; he produced a couple of her early albums and had been a huge presence in her life. The title track, “Ghosts in the Garden,” addresses Billy’s death, which sounds like it was a beautiful one, something that not very many people experience. He was surrounded by a houseful of friends and family celebrating and keeping him company up until the moment he passed.
There are many types of ghosts on the album: lost loves and past mistakes, roads not taken, and our possible futures, too. It was recorded in rural Maine at Great Northern Sound, which is inside an 1800s farmhouse that must keep its own ghosts. Kris, a great lover of collaboration, brings in many guest vocalists like Rose Cousins, Anaïs Mitchell, Ana Egge, Taylor Ashton, Rachel Baiman, Anna Tivel, and her husband, Jeffrey. I was surprised to learn that she had not actually planned for any guest vocalists. She made the decision, recorded some reference mixes in Maine, and listened on the drive home. She was startled to discover that she heard each guest vocalist on the track with her in the car, which prompted her to write some emails and get them all on the record. The songs want what the songs want, so you better give it to them or else… more ghosts?
Wild Ponies is a country-folk duo composed of Doug and Telisha Williams. As partners in music and life, they have developed a cohesive and refined sound. Their album, Dreamers, is out August 23, 2024. The album is an exploration of life, love, and loss, covering joy and grief, queerness and polyamory, and their journey pursuing fertility treatments. It’s a beautiful and touching collection of songs.
Before crafting Dreamers, the duo were asked by a fan where their dreams were. They reflected on the idea of where, not what, their dreams were and their response was, “Our dreams are everywhere, buzzing around like energetic bees… At times, our dreams are hard to wrangle – a wild pony…”
This idea of dreams set the concept for the new album. We are excited to dive into Dreamers and Doug and Telisha’s experiences as touring musicians in a queer, polyamorous family.
What does the album Dreamers mean to you personally? What excites you the most about sharing this release?
Telisha Williams: This record is very personal. We talk about becoming a polyamorous triad, being queer foster parents in the state of Tennessee, struggling with fertility issues, working on being more mindful. It’s basically a peak into our home, hearts, and heads. I’m excited about the way it sounds. Brandy ZDAN did a beautiful job producing this record. The band is amazing, and we couldn’t be more proud.
Doug Williams: Dreamers is the story of who we are. It’s not all easy and it’s not all pretty, but it’s all true. I love this record. Maybe that’s not something I should say about our own work but it’s true – I’m really proud of it.
Your song “Heartbeat” touches on your experience with fetal embryo transfer and even includes your child’s in-utero heartbeat. Is there anything you’d like to share about your journey with fertility treatments?
TW: Doug actually wrote that one after we thought that we had lost our pregnancy. We had a pretty traumatic “episode” when I was at about 5 weeks and we were sure that she was gone. The next morning, we went in for an ultrasound and there was her sweet little heartbeat on the screen. Strong and healthy. My process to becoming a mother was challenging and worth it. Our first embryo was a gift from a dear friend and we were so excited about the possibility of raising our genetic siblings together. Unfortunately, that one didn’t take and we didn’t know how to move forward. Our implications counselor connected us with another woman wanting to do an open embryo adoption. We met over zoom and now, we’re family. She has 2 boys that are the genetic siblings of our daughter. They live nearby and we all get to spend time together. It’s been an incredibly generous journey.
DW: This one was tough to write. We were sure we had lost another embryo. Sure of it. It was pretty difficult. So, we scheduled an emergency ultrasound, but we weren’t feeling good. The joy and tears when we saw that heartbeat on the screen is something that I just can’t describe. I tried to describe it in the song. Just pure joy and gratitude.
How do you balance a career in the music industry and touring with your roles as parents? How does polyamory play a role in this for you?
TW: We’re still figuring that part out. There are some advantages of being a three-parent household. Our partner Laura also travels for work as a photographer and we’re able to help each other as the parents that are holding down the homefront from time to time. We also enjoy traveling all together as a family of 5, but it’s hard to find room for the bass. [Laughs]
DW: I don’t know that there is really a good balance. Accepting that makes it easier, maybe? When you know it’s just going to be a little fucked from time to time, it’s just not as much of a surprise. But we’ve got to prioritize what’s best for the kiddos. And, I do think it’s good for them to see the possibility of living life on your own terms. That’s what we want for them, so we try to model it.
Is there anything you’d like to share with our audience about queerness, polyamory, and love, and how these experiences can vary for different people?
TW: We didn’t necessarily seek out polyamory. Doug and I are both bi/pansexual and have had an ethically non-monogamous relationship for a long time. When we met Laura and started spending time together as friends, we started having “more than friends” feelings for each other. We realized that it didn’t divide or diminish our experience as a couple. If anything, we felt stronger and more connected with each other and Laura. That realization that love was not a finite resource changed everything for us. We know that this relationship model is not for everyone. It requires a great deal of communication and intentionality, but we couldn’t be happier or more proud with this dream that we’re creating.
DW: Yeah, it takes a lot of communicating. A lot of talking. Check-ins. Podcasts. Books. Like Telisha said, we kept a lot of our identity fairly quiet for most of our career. It feels really good to be able to completely live our lives out in the open now. It can be a little scary in the state of Tennessee at times, but at this point it feels like the right thing to do is stay and fight to make it better here. Hopefully we’ll be able to continue to do that and make is safer not only for us, but for the rest of the queer community as well.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
TW: I can’t name anyone specifically, but I will say that when folks from the LGBTQ+ community show up at our shows or events we’re hosting, it means the world. Feeling seen and supported by this community has transformed me as a human and helped me to be more open and available to support others in and out of the community.
DW: That is a good question. Honestly, just our community. For us, or for me, it just took a lot of talking and a lot of checking in with folks we know. Friends who were already out and very public.
Who are your favorite LGBTQ+ artists and bands?
TW: I mean, we have to acknowledge what Brandi Carlile has done for our community, right?! She’s really elevated and supported the LGBTQ+ community in so many ways. From there, I’d say my friends, Heather Mae and Crys Matthews. I’m inspired by the music of Adeem the Artist. The community is strong and talented, y’all.
DW: Oh yeah, all of the above – I was so blown away by Adeem The Artist! Such amazing songs. And Crys and Heather both have killer new projects. I also love Ana Egge, Anne McCue, Amelia White, Aaron Lee Tasjan… just all of our friends, I guess.
What does it mean to you to be an LGBTQ+ musician?
TW: It means that I can sing about all of it. I don’t have to hide in the stories and the pronouns. I can share the beauty of the love I am so lucky to have in my life. I can share it out loud, and I dress in way more colors than I used to. Taste the Rainbow, people!
DW: [Laughs] I love T’s answer. Yeah, it’s new for us to be so public about our identities. We were mostly closeted for a long time. Definitely publicly [closeted]. It feels so good to live our authentic life in front of people now. There’s so much joy in it. So much love. It’s a powerful and beautiful thing that we weren’t sure we’d ever feel comfortable sharing so openly and now I wish we’d done that a long time ago. It took us a while and it was a slow coming out even when we started the process.
What’s your ideal vision for your future?
TW: We want to keep making art and connecting with people. That’s been our drive all along. That connection and building community. We plan to tour more intentionally in the coming years, because home has a bit more of a pull with the kiddos and family, these days. We also plan to travel with them, introduce them to the amazing community of music fans, and show them that families are made, not just born.
DW: Yeah, the ideal vision would be a life where our family and our career work together. We’re definitely finding ways to do that. It’s difficult, but I don’t think it’s impossible.
What is your greatest fear?
TW: I guess, since the pandemic, I’ve been a bit afraid of losing myself as an artist. When we couldn’t get out and “do what we do,” we weren’t exactly sure who we were anymore. It turns out that we’re still as connected to those fans and friends as we’ve always been, it just looks a little different now.
DW: Woof. You mean other than a second Donald Trump presidency? I don’t know – I think again, honestly, it has to do with identity. I love my new role as “Daddy.” I just want to do a good job and take care of these kids. I also really want them to see that it’s possible to live an artistic life. I guess my greatest fear is failing them in some way.
What would a “perfect day” look like for you?
TW: Oooo! I’d get to sleep until the big number is on the 7, then I’d have a fun morning with the kiddos, take them to their amazing daycare, come back for a walk/workout, morning pages and some time to write or play music. Then, the afternoon, I’d intentionally filter through some emails, pick the kiddos up, play, play, play, throw in a dance party and a jam walk, and sing them to sleep. Then, I’d have a little connected time with my partners and hit the hay. Throw in a coffee, walk, or cocktail date with a friend a few times a week, and that sounds pretty great to me!
DW: A perfect day… High of 82 and sunny. Like T said, sleeping a little late would be such a luxury. Then a little morning time with the kiddos before diving into work. Do a little writing, play some guitar? Then around lunch time take a nice twisty motorcycle ride to a great taco truck about 45 minutes away. Come home, get a little more work done, hang with the family and have a great dinner together. After the kids go to bed, maybe read a little while or listen to some vinyl and enjoy a drink or two. And if we’re really talking about a perfect day, there’s a little more… but we’ll stop there.
Why do you create music? What’s more satisfying to you, the process or the outcome?
TW: I think the outcome is more satisfying to me, but I also love the process and I believe to my core that the process is more important than the product. I know that music has healing powers. I have experienced that first hand, so that’s why I create music. To heal and experience joy, share or release sorrow, express disappointment or hope. Music and emotions are directly related, in my mind, so in order for me to be healthy and happy and present, I need to be creating.
DW: We talk about this all the time! Yeah, we’re huge believers in the process being more important than the product. But, still, it’s such a great feeling to have a new little song and watch it go out into the world and connect with people! I think that’s why most artists create – the desire to connect, to say something. The good that the process is doing in our lives and in our heads is something we usually discover later. Sometimes that even happens with songs no one else will ever hear.
What are your release and touring plans for the next year?
TW: Dreamers will be released on August 23. We’re touring very intentionally for the remainder of the year with shows in the Southeast and Midwest, mainly. We’ll continue to tour in support of the record in 2025, balancing our time at home with our family and out on the road. We’re excited to see where this new record takes us!
DW: Yeah, intentional touring is the main thing, I think. We won’t play as many shows, so if you see us coming to your town, get tickets! We’re just going to be a little more precious with our family time. But, still creating art, still connecting, still holding community events. We’re so excited to get this record out. I’m really proud of it.
Folk singer Ana Egge’s 13th album, Sharing in the Spirit, came out of the musician one song at a time. She didn’t even think about moving onto a new song before the writing and production of each song was complete. Working with her friend and collaborator Lorenzo Wolff, the songwriting process and music arrangement plan was to just work on a handful of songs. Their creative partnership manifested an entire record’s worth of indie folk, acoustic, and new folk music. The record includes eight originals and two covers: one by Biloxi songwriter Ted Hawkins and one by Irish musician Sinead O’Connor.
Ana gives a huge songwriting credit to her dreams, which started getting more and more intense when she began her sobriety journey four years ago. Since then, she’s recorded her dreams, especially those with music segments and full songs, on her voice memos app. We go through the new album track by track, addressing themes in the songs like not sleeping through the revolution, the importance of telling the truth, feelings on mortality and how we’re gonna feel when Bob Dylan dies. Also: Ana was the VERY first guest on Basic Folk! I can’t go back and listen to myself four years ago, but I encourage you to check it out and then dive into her great new album.
In the words of Chris Stapleton, “What are you listening to?” This week, our premiere round up is full of music we’re very excited to bring to your speakers and earphones.
Below, check out new videos from Ana Egge, Ordinary Elephant, and our brand new Rootsy Summer Session featuring Jim Lauderdale performing at a cute music shop in Falkenberg, Sweden. Plus, we’ve got new tracks from Jaelee Roberts, Parker Smith, Wyndham Baird, and Will Kimbrough. To top it all off, Phillip Lammonds performs “Forever Ain’t That Far Away” with his pal, the legendary Pam Tillis.
There’s so much to enjoy in our latest premiere round up, and if we do say so ourselves – You Gotta Hear This!
Ana Egge, “Door Won’t Close”
Artist:Ana Egge Hometown: Ambrose, North Dakota Song: “Door Won’t Close” Album:Sharing in the Spirit Release Date: May 17, 2024 Label: StorySound Records
In Their Words:“‘Door Won’t Close’ is about confronting an abusive person. One of the hardest things I’ve done in my life. I stood up to him on behalf of my sister and nephew. I opened the door to what he’d done by telling the truth and not allowing myself to be shut down by fear. Then I left the door open by telling his wife and friends about it. The song is mostly in conversation with his wife — her denial of his abuse and her support of him.” – Ana Egge
Track Credits:
Ana Egge – Vocals, acoustic guitar, harmony vocals Michael “Squeaky” Robinson – Pedal steel Alex Hargreaves – Fiddle Rob Heath – Drums Lorenzo Wolff – Bass Devon Yesberger – Organ, Wurlitzer
Video Credits: Directed, filmed and edited by Haoyan of America. Special thanks Alden Harris-McCoy and Cole-Berry Miller.
Jaelee Roberts, “Stuck In The Middle With You”
Artist:Jaelee Roberts Hometown: Murfreesboro, Tennessee Song: “Stuck In The Middle With You” Release Date: April 5, 2024 Label: Mountain Home Music Company
In Their Words: “‘Stuck In The Middle With You’ is a song that I have loved for a really long time and I’ve been keeping it in mind to record, because I felt like it would be so much fun to cover. Of course I love the original version by Stealers Wheel (written by Gerry Rafferty and Joe Egan), but when I was pretty young I found Keith Urban’s version from the ’90s with his band, The Ranch, and I was really hooked on it. I have literally listened to it hundreds of times and it never gets old. I love all genres of music and I recorded a ’70s rock song (“Landslide”) on my debut album and people really seemed to enjoy it, so I wanted to include a song from that era on my new album, too. I knew ‘Stuck In The Middle With You’ was the one. I’m excited that it just happens to be the first single!
“I have to say that I am absolutely thrilled with how this song turned out with the help of my producer and bass player, Byron House, and all of the other STELLAR musicians: Ron Block on banjo/guitar, Cody Kilby on guitar, Andy Leftwich on mandolin, Russ Pahl on dobro, and John Gardner on percussion along with backing vocals by John Cowan.
“It was truly amazing to hear this come to life and I really think we made it our own by combining two awesome versions and throwing in a twist or two for a new take on ‘Stuck In The Middle With You.’ I hope it makes you smile and maybe even want to get up and dance!” – Jaelee Roberts
“Jaelee’s voice is THE GOLDEN THREAD shining so brightly in what feels to me like a well-woven tapestry of mighty fine playing, all supported by this classic groove. Her version of ‘Stuck In The Middle With You’ was every bit as fun to play and produce as I hope it will be for you to hear! So grateful to be working with Jaelee Roberts!” – Byron House, producer
Parker Smith, “Air Stream”
Artist:Parker Smith Hometown: Atlanta, Georgia Song: “Air Stream” Album:Short Street Release Date: June 7, 2024
In Their Words: “My brother and I drove up to Unicoi State Park with his two kids, a couple of cots, one tent, and not enough warm clothing. We debated not making the trek, because the weather was supposed to dip below freezing, but we didn’t want to disappoint his kids, who were looking forward to it. When we rolled up to the campsite, our neighbors, an elderly couple, were sitting outside in a couple of crazy creek chairs with their dog in front of an Airstream.
“I’ve always wanted an Airstream camper, and I am big into double meanings to a fault when it comes to song lyrics; ‘Air Stream’ also refers to the cold snap we were experiencing in North Georgia. We said maybe two words to the couple, but it was so interesting how we interacted with neighbors pretty much the same at home and on vacation. We overheard them bickering with each other and then making up at the end of the night. It was also interesting to see how they had everything figured out with some warm shelter and supplies, and we were out here roughing it with two young kids in a cold tent. We ended up having a great time outdoors, swinging on hammocks and making a fire, but the kids were complaining and shivering in the middle of the night, and we ended up leaving at 5 a.m. to head home.
“My favorite line in the song is ‘growing cold together, blaming it on the weather’ in the last verse. This line can be interpreted in several ways, and I liked substituting ‘cold’ for ‘old.’ This verse is when the song gets quiet, and the vocals are upfront before all the instruments tumble back in for the last chorus. Sonically, the song has a floating quality, especially with the sound of the pedal steel and the faraway fiddle solo. I wanted a simple chorus that people could sing along around a campfire, and my producer Colin had a great idea for me to overdub my vocals an octave apart to give it that vibe. ‘Air Stream’ has been a fun one to play live.” – Parker Smith
Track Credits:
Parker Smith – Guitars, vocals Trygve Myers – Bass Christopher Case – Keyboards John Kingsley – Pedal steel, lap steel, fiddle, slide guitar Colin Agnew – Drums, Percussion, Background Vocals
Mixing & production – Colin Agnew Mastering – Bob Weston, Chicago Mastering Service
Wyndham Baird, “Meet Me By the Moonlight, Alone”
Artist:Wyndham Baird Hometown: Brooklyn, New York Song: “Meet Me By the Moonlight, Alone” Album:After the Morning Release Date: May 31, 2024 Label: Jalopy Records
In Their Words: “I learned ‘Meet Me By The Moonlight’ from The Carter Family when I was about 20 years old. When I first heard The Carter Family it felt like I was listening some long lost relatives. They sounded like they had been my great grandmother’s neighbors. Taking up Maybelle’s picking style set me free from the doldrums of riffing. Her playing taught me how to make the guitar sound good enough all by itself. That being said, Eli Smith’s autoharp lends our recording of ‘Moonlight’ some rocking chair rhythm and Samoa Wilson’s harmony vocal sounds somehow like a roll top bread box.” – Wyndham Baird
Will Kimbrough, “Every Day”
Artist:Will Kimbrough Hometown: Nashville, Tennessee Song: “Every Day” Album:For the Life of Me Release Date: April 5, 2024 (single); May 3, 2024 (album) Label: Daphne Records, Soundly Music
In Their Words: “David Henry and I wrote ‘Every Day’ trying to create something carefree and joyful. We pulled it off! I needed it then and we need it now. Favorite lyric: ‘Singing in the sunshine. Laughing in the pouring rain. Gonna have a good time. Everybody it’s a sunshine day.'” – Will Kimbrough
Track Credits:
Bryan Owings – Drums Chris Donohue – Bass Will Kimbrough – Vocals, guitar, keyboards
Ordinary Elephant, “I See You”
Artist:Ordinary Elephant Hometown: Lafayette, Louisiana Song: “I See You” Album:Ordinary Elephant Release Date: May 3, 2024 Label: Berkalin Records
In Their Words: “We can talk to anyone in a song. Time, space, beliefs, viewpoints — none of those can keep the ‘I’ from having a conversation with the ‘you.’ The ‘you’ can be Gandhi, a grocery store clerk, the President, or your dog. It can also be yourself, perhaps at some future point in time.
“I started this song a few months into my journey with sobriety. Because there were things I couldn’t escape from seeing about myself. And there were, and are, so many things I don’t yet know, or know how to figure out, but there’s a sense of what I want this unraveling to look like when it’s sewn back together.
“Being in the moment and accepting who and where we are is valuable, and I believe that getting better at this is a practice that can hold a lot of happiness. But it also seems that if we don’t look ahead and think of a future self, it can be difficult to grow in ways that feel meaningful. So this is a talk with that future self, letting her know that I see her.” – Crystal Damore
Video Credits: Directed & edited by Syd Horn & Olivia Perillo. Cinematography & color by Olivia Perillo. Honest Art Productions, Lafayette, Louisiana.
Phillip Lammonds, “Forever Ain’t That Far Away”
Artist:Phillip Lammonds Hometown: Nashville, Tennessee Song: “Forever Ain’t That Far Away” Album:Cowboy Things Release Date: April 5, 2024 Label: Freestone Records
In Their Words: “It’s a song that I wrote with Matt Wynne – a great singer-songwriter from Missouri and just a great guy. We were co-writing one day and we didn’t really have anything. We were working around in the writers room and he said, ‘You know, the afternoon is not that far away,’ and I said, ‘Wait a minute…’ and we backed into this title, ‘Forever Ain’t That Far Away.’ It’s turned into one of the coolest songs. One of the greatest things about this song is that on the record, Pam Tillis sings the background vocals on it. There is no question you can hear her. She is amazing, and she’s still the same star she’s ever been.” – Phillip Lammonds
Track Credits: Written by Phillip Lammonds & Matt Wynne. Produced by Lee Brice. Co-Production by Gabriel Klein, Gideon Klein, Phillip Lammonds. Engineered & Mixed by Cody Labelle, Gabriel Klein, Gideon Klein.
Video Credit: Brooke Stevens
Rootsy Summer Sessions: Jim Lauderdale
This week, we bring you a brand-new installment of our Rootsy Summer Sessions, which were shot last year in gorgeous Falkenberg, Sweden, during Rootsy Summer Fest ’23. The videography team behind I Know We Should set aside time during the summertime roots music festival with Nashville renaissance man, Americana magnate, and hit songwriter Jim Lauderdale while on his trip to Scandinavia.
For his first performance, he performs “The Road Is a River,” a song from his 2018 album, Time Flies, in an adorable local music store, Liljedahls Musik. Joined by his band, including recording artist and fiddler Lillie Mae, guitarists Craig Smith and Frank Carter Rische, Jay D. Weaver on bass, and Dave Racine on drums, they cheerfully lope through the darker tinges of the song, harmonizing in three parts on the track’s foreboding and certainly apocalyptic lyrics. “The Road Is a River” demonstrates the ease with which Lauderdale combines styles, textures, and sonics with his deep understanding of history and a literary reckoning with the machinations of the earth – natural and unnatural.
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.
Artist:Ana Egge Hometown: Brooklyn-based, by way of North Dakota Latest album:Is It the Kiss
What was the first moment that you knew you wanted to be a musician?
Well it might go back to my first concert seeing Willie Nelson at the North Dakota State Fair when I was 5 or 6. My parents and their friends all listened to his records. We had a poster on the wall at home with animals wearing cowboy hats that quoted him, saying, “Mama, don’t let your babies grow up to be cowboys.” And I remember sitting up on my dad’s shoulders watching this gentle man with a long braid sing and play the guitar for so many people all singing and smiling along. I lived in Ambrose, North Dakota. A very small town of fifty people. That made a huge impact on me.
What other art forms — literature, film, dance, painting, etc — inform your music?
I love to read. One of the songs on my new record was inspired by Their Eyes Were Watching God by Zora Neale Hurston, and what a powerful, deeply felt love story it is! The love between Teacake and Janey practically jumps off the page. I’ve just recently had my mind blown by the insane talent of Anton Chekhov and his short stories.
What’s the toughest time you ever had writing a song?
That’s a good question. It might be “Bully of New York” from the album Road to My Love. It took me about three years to finish that one. And I knew it was so special from the get-go. Sometimes they take a little while, but I couldn’t figure out how to differentiate between the three characters in the song. It’s a true story about hitching a ride with a park ranger in Central Park in the rain and him sharing his stories of his hard life with me while I was daydreaming of my new girlfriend. So many are silently suffering. Lend an ear and you might just lessen the loneliness for a moment.
If you had to write a mission statement for your career, what would it be?
I’ve always wanted to be an artist and a musician. I’ve always wanted to be a good person and to build and make things and share them with people and maybe, just maybe, bring people together in that. To quote Barry Manilow, “I write the songs that make the whole world sing, I write the songs of love and special things, I write the songs that make the young girls cry, I write the songs, I write the songs.”
Which elements of nature do you spend the most time with and how do those impact your work?
I like this question. I feel like my head is so often in the clouds that it helps when I slow down. So air, breathing. And earth, when I get grounded or think of being grounded. It is part of the work.
Building community is part of what music, and all good art, does. It brings us together. Music is a common rhythm, a poetic notion, an underlying common language for us all. A good mixtape grabs hold of that commonality and builds on it, with a few surprises along the way. As a band, The Steel Wheels curate a music festival each year, and a mixtape, or playlist, is kind of the digital version of that venture. So, let’s stop talking about it, and start building community with a PERFECT mix. – Trent Wagler, The Steel Wheels
Fruit Bats* – “Humbug Mountain Song”
Let’s start with a groove anyone can get behind. It’s accessible for the pop music lovers who wandered into this gathering — they didn’t know they liked the banjo at all until the second half of this intro kicks in. But now they’re engaged. And why can’t the piano, banjo, and drums live together in harmony? Stop closing your mind.
Kristin Andreassen* – “Get Together”
A good mixtape needs to establish that everyone is included. Loading things up with all your favorite new and rare songs isn’t always inviting. A cover song is common language at the very best. A little freshening up of a classic song will get us all swaying together in time. And what better theme than coming together? Now we’ve got everyone in the room in tune and we can introduce more variance in the mix.
The Wood Brothers* – “Sing About It”
The foundation of community is the strength we have together. Nothing better exemplifies this than the tight grooves and sweet harmonies of the Wood Brothers. And their message here is spot on. No matter where we are in our journey of pain, loss, trouble, or fear, singing a song just might help it pass.
Kaia Kater* – “New Colossus”
Now that we’re all in this, let’s tie the knots tighter. This song is like a sweet honey that helps stick us tightly. The way the melody veers and twists through literary verses encourages your conversations to dig a little deeper.
Jerry Garcia & David Grisman – “Russian Lullaby”
I think it’s more than nostalgia that brings me back to these late Garcia recordings, when he teamed up with longtime friend and musical pioneer David Grisman. The loose nature of these recordings makes you want to sit crisscross applesauce and share most embarrassing moments with a new acquaintance. If the ice wasn’t broken earlier, Jerry will rockabye you, baby. Collaborations are community building at their core.
River Whyless* – “All of My Friends”
Now that we’re all floating together in a musical high, don’t pull away. Leave the phones in your pocket. Let’s be here together fully. River Whyless is a band that simultaneously indicts and playfully dances with the information-overwhelmed age we live in.
Cedric Burnside* – “Hard To Stay Cool”
What is more true blue than these dyed in the wool Burnside family blues. Cedric Burnside’s whole album is full of these tasty grooves. It’s not hard for him to stay cool.
Tim O’Brien* & Darrell Scott – “With a Memory Like Mine”
Here’s another one of my favorite collaborations. The album Real Time by Tim and Darrell has had such a musical impact on me. To hear two great songwriters, who sing and play any instrument they pick up with such mastery, is humbling and inspiring.
Bahamas – “No Wrong”
I’m obsessed with Bahamas’ music right now. The guitar, the groove, and the vocals. The presence of this recording is also so immediate and direct. When you’re among your people, it feels like you can do no wrong.
The Steel Wheels* – “Road Never Ends”
I couldn’t help but include one from our new record. The love and joy of the road is bittersweet. This song puts words to the difficulties of transience while acknowledging the beauty of the strange kind of mobile community it creates.
Ana Egge – “Rock Me (Divine Mother)”
There are few songwriters who tap into deep spiritual depths without cliché like Ana Egge. She’s a treasure. And this song has slayed me every single time I’ve ever heard it.
All music conjures up a sense of place. Tinariwen was introduced to me by our drummer, Kevin Garcia, and I’ve regularly wanted to go to where their sound takes me. As a songwriter and specifically a lyricist, it’s helpful to reset your listening ear and turn off the language centers of your brain by listening to music with lyrical content in a language you do not speak.
Dr. Dog – “Listening In”
A good mixtape has some curveballs. Dr. Dog has been a sonic companion for me since I first saw them live 10 years ago at Bristol Rhythm and Roots. The lyrical tapestry is so full and always connects through some kind of thought-lightning striking through your brain. I love the line, “I can hear the fear in me…talking.”
David Wax Museum – “Time Will Not Track Us Down”
We’re getting towards the end of our little mixtape. Like the Sunday afternoon lazy picnic, we are starting to wind it all down. David Wax is known for his high energy original Latin-inspired masterpieces, but this simple paired down guitar/vocal really calms my spirit and prepares us to part.
Robert Ellis & Courtney Hartman* – “Up On The Hill Where They Do The Boogie”
One more cover song for good measure. Let’s celebrate the most wacky and wonderful souls among us, and let’s boogie like John Hartford.
Josh Ritter – “Homecoming”
Remember that curating music for your gathering is a privilege. You are setting the sonic table for everyone in your presence. It’s also a responsibility. Everyone wants to feel at home at the end of the day. Everyone wants be at their best and be reminded that they are capable of their best. Music replenishes the various ways daily life drags us down. A mixtape is a good refuge and stand-in for when music festival season is slow.
Photo credit: Josh Saul
*2019 Red Wing performers. Red Wing Roots Music Festival takes place in Mt. Solon, Virginia, on July 12-14, and is hosted by The Steel Wheels
MerleFest 2019 is officially in the books. The quintessential bluegrass, roots, and Americana festival — named for Doc Watson’s son, Merle — drew more than 75,000 attendees from around the world to the grounds of Wilkes Community College in Wilkesboro, North Carolina. The four-day event celebrated NC’s “Year of Music” with over 100 bands from all across the state, the country, and the world.
On Saturday night, BGS once again presented the ever-popular Late Night Jam, hosted by Chatham County Line, which featured performances from many of MerleFest’s stellar acts including Ellis Dyson, Jim Avett, Scythian, Molly Tuttle, Shane Hennessy, Donna the Buffalo, Jontavious Willis, Jim Lauderdale, Catfish Keith, Presley Barker, Ana Egge, the Brother Brothers, Steve Poltz, and many more friends and special guests.
Check out MerleFest 2019 in photographs and make plans to join us next year!
Del McCoury Band takes the Hillside Stage
Photo by Michael Freas
Amos Lee
Photo by Willa Stein
Singer/songwriter Ana Egge
Photo by Devin Ulery
Andrew Millsaps performs as part of the Chris Austin Songwriting Contest
Photo by Ryan Case
The Avett Brothers sing it out
Photo by Michael Freas
An absolutely jam-packed Hillside Stage for the ever-popular Album Hour - Led Zeppelin IV.
Photo by Gordon Burns
Elizabeth Cook
Photo by Jeff Clements
Brandi Carlile greets the Saturday night crowd
Photo by Michael Freas
Dailey & Vincent
Photo by Jim Gavenus
Eric Gibson of the Gibson Brothers
Photo by Michael Freas
The rowdy and rollicking dance tent
Photo by Suzie Guerrant
A breezy Jim Lauderdale
Photo by Michael Freas
Chatham County Line, our Late Night Jam hosts, kicking off the evening.
Photo by Michael Freas
In a perfectly MerleFest moment, Brandi Carlile and the Avett Brothers altogether
Photo by Willa Stein
Clogging feet are happy feet
Photo by Michael Freas
It's Keb' Mo' on the Watson Stage
Photo by Ryan Case
Jontavious Willis leads a blues jam at the BGS-presented Late Night Jam
Photo by Michael Freas
Molly Tuttle on the mainstage
Photo by Jeff Clements
A whole slew of fiddles
Photo by Randall Dameron
Crowd-favorite Scythian brought their signature energy and drive, as always
Photo by Jim Gavenus
Brandi Carlile
Photo by Michael Freas
Two extraordinary guitarists, Presley Barker and Molly Tuttle, swapped licks at the Late Night Jam
Photo by Michael Freas
Sam Bush Band
Photo by Michael Freas
The furry, friendly MerleFest mascot, Flattop
Photo by Michael Freas
Members of Scythian are joined by Shane Hennessy and others at the Late Night Jam
Photo by Michael Freas
Michaela Anne
Photo by Misty Case
Peter Rowan in his element
Photo by Misty Case
Scott Avett gettin' down
Photo by Willa Stein
Jim Lauderdale, Chatham County Line, and the Brother Brothers collab during the Late Night Jam
Photo by Willa Stein
The heritage crafts tent showcased expert artisans, their trades, and their wares
When it comes to roots music, the MerleFest 2019 lineup is tough to beat. From bluegrass heroes to country legends, along with a number of perennial favorites like the Avett Brothers, this year’s four-day event promises to be one for the record books. Where to begin? Check out the BGS daily preview below.
Editor’s Note: MerleFest 2019 will take place April 25-28 in Wilkesboro, North Carolina. The Bluegrass Situation is proud to present the Late Night Jam on Saturday, April 27. Get tickets.
THURSDAY, APRIL 25
Headliner: Wynonna
No one else on earth has a voice like Wynonna. Of course she got her start in the Judds, which brought an acoustic flavor back to mainstream country music in the 1980s. She’s also frequently cited Hazel Dickens and Alice Gerrard as among her earliest musical influences. You’ll surely hear the hits, yet a new record deal with Anti- means that more music is on the way.
Don’t miss: Junior Brown can wow a crowd with his “guit-steel” double neck guitar, not to mention wry tunes like “My Wife Thinks You’re Dead.” Dailey & Vincent know a thing or two about quick wit, with their fast-talking banter tying together a repertoire of bluegrass, country, and gospel. Accomplished songwriter Radney Foster issued a new album and a book – both titled For You to See the Stars – in 2017. North Carolina’s own bluegrass combo Chatham County Line kicks off the day, likely with a few familiar tunes from their new album, Sharing the Covers.
FRIDAY, APRIL 26
Headliner: Tyler Childers
With the album Purgatory, Tyler Childers captivated fans who demand authenticity from their favorite artists. The acclaimed project falls in that sweet spot where Americana, bluegrass and country music all merge gracefully. Yet the sonic textures of “Universal Sound” show that he’s not stuck in the past. In a crowded field of newcomers, Childers’ distinctive singing voice and incisive writing set him apart.
Don’t miss: If you’re into guys who write quality songs, then you’re in luck. Leading up to Childers’ set, fans can dig into the likes of Amos Lee, The Milk Carton Kids, The Black Lillies, American Aquarium, and Steve Poltz. If bluegrass is more your style, check out Mile Twelve and Junior Sisk & Ramblers Choice in the early afternoon. Before that, make the most of your lunch break with country music from Michaela Anne and Elizabeth Cook. The Chris Austin Songwriting Competition is worth a stop, too.
SATURDAY, APRIL 27
Headliner: Brandi Carlile
Brandi Carlile catapulted into a new phase of her career by singing “The Joke” on the Grammys this year, not to mention winning three awards before the show. However, dedicated fans have followed her ascent since her auspicious 2005 debut album and its exceptional follow-up, The Story. She’s a master at engaging a crowd and a Saturday night headlining slot at MerleFest is yet another feather in her cap.
Don’t miss: Doc Watson himself would have approved of all the bluegrass artists on Saturday, such as Sam Bush Band, The Earls of Leicester, the Gibson Brothers, and Molly Tuttle. Keb’ Mo, Donna the Buffalo, and Webb Wilder converge upon Americana from different originas, yet they are united in their ability to electrify a crowd – even at a mostly acoustic festival. Folk fans should swing by The Brother Brothers, Carolina Blue, Driftwood, Ana Egge, Elephant Sessions, and The Waybacks. The Kruger Brothers always offer a pleasurable listening experience, too. Still not ready for the tent? Drop by the Late Night Jam, hosted by Chatham County Line and presented by yours truly, BGS. You won’t want to miss the set of special collaborations and true, on the spot, one of a kind jams with artists from all across the festival lineup.
SUNDAY, APRIL 28
Headliner: The Avett Brothers
The Avett Brothers elevate the MerleFest experience by bringing together a multitude of influences, from string bands to stadium rock. The charming track “Neopolitan Sky” dropped in February, employing a Tom Petty vibe and a surprisingly scaled-back production, as well as the sibling harmony that’s central to their sound. The North Carolina natives are proud fans of Doc Watson, so here’s hoping for “Shady Grove” to go along with fan faves like “Live and Die,” “Murder in the City,” and “I and Love and You.”
Don’t miss: The Del McCoury Band always brightens a Sunday afternoon with traditional bluegrass and any number of hollered requests. Steep Canyon Rangers will deliver a set inspired by the North Carolina songbook. After that, the ever-prolific Jim Lauderdale will take the stage with a set drawing from his country and bluegrass career. Early risers will be treated to morning music from Lindi Ortega, who hit a career high of creativity with her newest album, Liberty. Also of note: Jeff Little Trio, Andy May, Mark and Maggie O’Connor, Peter Rowan, Scythian, Larry Stephenson Band, Yarn, and all the good vibes that MerleFest has to offer.
MerleFest is proud to announce the 2019 lineup for their beloved Late Night Jam. Sponsored by The Bluegrass Situation and hosted by Chatham County Line, this year’s Late Night Jam will feature Molly Tuttle, Jim Lauderdale, The Brother Brothers, Donna the Buffalo, Presley Barker, Ana Egge, Steve Poltz, and more.
The annual homecoming of musicians and music fans returns to the campus of Wilkes Community College in Wilkesboro, North Carolina, in the foothills of the Blue Ridge Mountains, April 25-28.
Tickets for this year’s festival, as well as the Late Night Jam sponsored by The Bluegrass Situation, may be purchased at www.MerleFest.org or by calling 1-800-343-7857. MerleFest is presented by Window World.
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