LISTEN: The Weeping Willows, “Wheels Won’t Roll”

Artist: The Weeping Willows
Hometown: Melbourne, Australia
Song: “Wheels Won’t Roll”
Release Date: August 14, 2020 (Single)

In Their Words: “Penned in 2019, ‘Wheels Won’t Roll’ is our ‘accidental isolation song’ about feeling stuck in a rut (we owe 2019 an apology!) Early last year we were spinning our wheels, struggling to move forward, crippled by self-doubt and writer’s block. But despite all that, we longed to be back out on the open road… ‘Wheels’ is our folkie homage to the great Australian song, ‘Rock and Roll (I Gave You the Best Years of My Life)’ written by Kevin Johnson, made famous by Mac Davis.” — Laura Coates and Andrew Wrigglesworth, The Weeping Willows


Photo credit: Lachlan Bryan

LISTEN: Rod McCormack, “Fingerprints”

Artist: Rod McCormack
Hometown: Terrigal, NSW, Australia
Song: “Fingerprints”
Album: Fingerprints
Label: Sonic Timber Records

From the Artist: “‘Fingerprints’ was written for my beautiful wife Gina. As I flew over to the States to record this album, she reminded my that I hadn’t written a love song for her yet — and after 20-odd years I thought it was about time. I was so glad to work with John Scott Sherrill on this song idea, and then to have Gina sing on it with me was a real treat. I really wanted ‘Fingerprints’ to have an Appalachian feel to it, and hearing the fiddle and banjo weave around the acoustic guitar still takes me back to our early years together. Along with the current single, ‘Shimmers,’ ‘Fingerprints’ is probably the most requested song from the album.” — Rod McCormack


Photo credit: Steve Kearney

BGS 5+5: Garrett Kato

Artist: Garrett Kato
Hometown: Born in Port Coquitlam, BC; current home is Byron Bay, Australia
Latest Album: s. hemisphere EP
Nickname: “Shoji is my middle name, some crew call me that”

Which artist has influenced you the most … and how?

I think it would have to be Bob Dylan as cliché as that sounds. I feel there’s only a handful of artists that can hit you in the guts with lyrics and melody. He’s probably the master of storytelling and symbolism in song.

What’s your favorite memory from being on stage?

This was probably one of favourite moments in life. I was supporting Damien Rice in Australia and was a big fan of his work. I hadn’t seen him much and figured he’d be too busy to see my set. I played to a beautiful and attentive audience, and once I left the stage, out of the darkness he emerged to say he enjoyed the set. Later that night, we went busking in the streets of Brisbane. It was something I won’t soon forget.

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

I’m a big fan of most A24 films at the moment. They always have such intensity and mystery to them highly recommend. As far as for my music, I’d say I draw more from conversations in real life or stories I hear from people I know, and love that, for some reason, it seems to seep in more often when I’m writing.

What’s the toughest time you ever had writing a song?

I think it’s almost every time. Each song comes with its own set of challenges and problems that are particular to the message or music. I find it the hardest to write when I’m spending too much time on social media. It really sucks the life out of being creative, and you end up just worrying about what everyone else is doing.

If you had to write a mission statement for your career, what would it be?

Try to give some comfort to someone who may be feeling lost or alone.


Photo credit: Jess Parkes

LISTEN: Kristy Cox, “Finger Picking Good”

Artist: Kristy Cox
Hometown: Adelaide, Australia originally (now Nashville, TN)
Song: “Finger Picking Good”
Album: No Headlights
Release Date: February 28, 2020
Label: Mountain Fever Records

In Their Words: “Since I was a girl, I have been a huge fan of Tommy Emmanuel. When my co-writers Jerry Salley, Bill Wythe, and I were writing this song we spoke about how great it would be if we could feature Tommy on the different fingerpicking tunes throughout the track, I was so incredibly excited when he said yes. I love this song; it was so much fun to write and even more fun to perform.” — Kristy Cox


Photo credit: Billy Joe and Clockwork Photography

BGS 5+5: Riley Pearce

Artist: Riley Pearce
Hometown: Melbourne, Australia
Latest Album: Acoustic EP
Nickname: Still yet to be determined

What’s your favorite memory from being on stage?

It wasn’t actually a good memory but it was an important lesson to learn. I played a small gig in a coffee shop overseas and had a few drinks with a friend beforehand and temporarily forgot about the show. I don’t recall forgetting any lyrics, but remember stepping back from the mic at one stage and feeling very unbalanced. That was enough to make me not drink much before a show going forwards.

What was the first moment you wanted to be a musician?

Well, part of me still doesn’t consider myself a musician. I’ve made it this far though, so maybe I am. I used to busk a lot growing up and loved the interaction you’d get with complete strangers or your friends at the different market stalls. There would be great connections formed through music and that really spurred my love for it all. It’s amazing how songs just become, from nothing. I was quite hooked and spent the first few years really trying to learn everything I could. I wanted to make this something I could do for the rest of my life.

Since food and music go so well together, what is your dream pairing of a meal and musician?

Oooh I like this question. I’ve been really enjoying Foy Vance’s work of late so perhaps him and some pasta and wine. Is he at this dinner? Or am I just listening to him while I eat pasta and drink wine… alone? Or is he singing to me while we both eat pasta and wine? It’d be quite close and I’d probably get food spat on me. I’m confused.

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

Very rarely, if ever. The songs need to be authentic and come from a real place. I often treat concepts like time or distance as if they are people in songs so it gives me more to write about than my actual human relationships. I also find what happens to me more is that I may write a song or a lyric and it’s meaning to me changes overtime and if it started being about one idea it’s morphed its way into something else. I love how music can do that.

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

I really want to have some pre-gig rituals, but besides a pre-gig toilet trip and some water I’ve got nothing. In the studio I often eat this rice-cracker snack called Delites which I mispronounced for two years as Deletees until someone told me it’s just a play on the word delight. But I still call them Deletees. I find my voice sounds nice after eating them, plus they taste great.


Photo credit: Rachel Claire

LISTEN: Clare Bowen, “Tide Rolls In”

Artist: Clare Bowen
Hometown: South Coast, New South Wales, Australia
Song: “Tide Rolls In” (featuring Buddy Miller)
Album: Clare Bowen
Release Date: July 12, 2019
Label: BMG

In Their Words: “‘Tide Rolls In’ is about people and things that seemed like a good idea at the time. We’ve all put our love in the wrong place at some point — my romantic career before I met my sweet, wonderful husband Brandon was a proverbial train wreck, with napalm on top. Brandon and I have the most incredible love story that people ask me about all the time, and I want everyone to know that we didn’t just find each other immediately. It started with self love, for both of us. If you’ve made dreadful romantic choices in the past, you’re not damaged goods, like I thought I was — you are a beautiful, unique creature who deserves to be loved so very much. Especially by your own heart.” — Clare Bowen


Photo Courtesy of Activist Artist Management

WATCH: Jordie Lane, “The Winner” (Feat. Clare Reynolds)

Artist: Jordie Lane feat. Clare Reynolds
Hometown: Melbourne, Australia (Based in Nashville, Tennessee)
Song: “The Winner” – Live from Cobargo Folk Festival, NSW
Album: Lost EP
EP Release Date: June 7, 2019
Label: Blood Thinner Records / Tone Tree Music

In Their Words: “I started writing this song feeling sorry for myself, eating tacos and drinkin’ beers in a motel room in Joshua Tree, California. But when Clare Reynolds turned it into a duet with me, the whole thing took on a new perspective. It became less about self-pity and more about how to feel alive, and how to love. We were lucky enough to play recently in this rural town of 700 people, at the Cobargo Folk Festival in New South Wales, Australia, just a 12,500km stone’s throw southwest of California. And the good people at Yuin Folk Club & Pegleg Productions captured this live video in the local hall as the first of a series they are doing called the Cobargo Sessions.” — Jordie Lane


Photo credit: Tajette O’Halloran

George Jackson, “Dorrigo”

As a fiddler in Nashville, a town whose guitarist population is only rivaled by the sheer quantity of fiddles and bows, it takes a singular voice to stand out. Or, in George Jackson’s case, perhaps it takes a singular accent. The New Zealand native recently transplanted to Music City and has been carving a niche for himself in bluegrass, old-time, and their offshoots ever since. He currently tours with acclaimed bassist Missy Raines’ latest lineup, a minimalist-while-mighty acoustic trio, and he’s also been spotted collaborating with folks like Front Country and Rachel Baiman.

On his brand new album, Time and Place, Jackson steps into the role of frontman and bandleader, demonstrating that his voice — musically and otherwise — is so much more than just a charming, Oceanian accent. His fiddling is an intentional, pragmatic, and judicious combination of styles that range from Vassar Clements’ harebrained wit to Clifftop, West Virginia’s down-homiest old-time sawers. “Dorrigo,” a tune whose title tributes Australia, another former home to Jackson, perfectly demonstrates this old-meets-new, Northern Hemisphere meets Southern Hemisphere originality. The turns of phrase and melodic hooks register as familiar and timeless, before being unwound in surprising trajectories. Mandolin Orange’s Andrew Marlin, Charm City Junction’s Brad Kolodner, Mark Kilianski of Hoot and Holler, and Jackson’s longtime friend and collaborator Andrew Small fill out the band, demonstrating laser focus on old-time simplicity and bluegrass precision.

Perhaps thanks to his international roots, or his egalitarian approach to fiddle styles, Jackson’s “Dorrigo,” and by extension, Time and Place, simply do not bother trifling with authenticity signalling or genre designation. They simply elevate his singular voice.

Lucero Carries ‘Among the Ghosts’ Around the World

Lucero marked their 20th year as a band in 2018 with a block party in their native Memphis as well as a satisfying new album, Among the Ghosts. Before the year’s up, the band’s schedule is carrying them to the United Kingdom for six shows. (Also, Australia beckons in 2019.) International touring has sometimes proven tricky to pull off, says the band’s frontman Ben Nichols.

“We feel bad actually about not giving enough of our attention to Europe. We’ve been so busy in the States I’m afraid we’ve been a bit neglectful of Europe in the past,” he admits. “The U.K. has always been nice to us but we just haven’t been able to get over there as much as we would like. And we’ve played shows on the continent even less. Part of that has been simple logistics, time, and money; but also maybe a little naiveté on our part… we never thought anyone over there would be interested in our little band from Memphis. Hopefully all that is changing.”

Just before heading overseas, Nichols answered a few questions by email.

As you prepare to begin an overseas tour, do you change anything from your U.S dates, such as your set list, your merch, or the gear that you bring?

We used a set list for the first time on the recent Among the Ghosts U.S. tour. In the past we tended to make it up as we went along. On this tour though I wanted to be sure I could fit all the new songs in every night and I wanted to pick old songs that complemented them, so we made a set list and it worked out well. We will probably play something very similar on the U.K. run. As far as gear goes we will be renting a backline of drums and amps so that we don’t have to fly with the heavy stuff. But of course we will bring our own guitars. As far as merchandise goes I’m not sure what we’ve got going on. Mainly I just want folks to buy that new album.

As you tour, in the U.S. or abroad, have you ever encountered any cool guitars or gear that you just couldn’t pass up?

I tend to find a guitar and an amp I like and just beat the hell out of them until they won’t play anymore and then I get another one when they finally give out and can’t be repaired anymore. So as long as what I’ve got is holding up, I’m not really in the market for anything new. I know that’s a boring answer but it is the truth. My old Epiphone Sheraton and my Blues Jr are all I need right at the moment.

You recorded this album in your hometown of Memphis at Sam Phillips Recording Service. How would you describe the room, and what was the vibe in the studio when you were recording the album?

It has a very strong 1959 aesthetic! Not much has changed about the building itself since it was opened in 1960. Sam’s office upstairs is one of the coolest things I’ve ever seen. The place isn’t open to tourists. It was built to be a recording studio. And working there with a producer and engineer like Matt Ross-Spang, you can’t beat it. He is the kind of guy who knows exactly how Sam Phillips intended that place to be used, from the main studio to the reverb chambers to the hallway and the bathroom. Every bit of the place was made with sound in mind. And Matt gets the most out of that. I can hear it on our record.

With its ominous imagery and some excellent guitar licks, the song “Among the Ghosts” is one of the album’s finest moments. What were you hoping to capture in this song?

It was one of the first pieces of music I’d written for the album, but it was the last one to get lyrics. The music really took shape as we cut it on the floor. I didn’t know exactly what we had until Matt played it back to us the next day. It was exactly what I wanted to hear at the moment and it needed the exact right lyrics. At the last minute it fell together. My wife and daughters have made a big impact on me since getting married almost three years ago, and writing about being away from them fit the song perfectly. All of the lyrics on this new record are exactly what I want to be singing every night while I’m on tour.

The end of a year can be a time for reflection. What have been some of the highlights of 2018 for you?

For me it’s been all about watching my two-year-old growing up. She knows what I do and loves to come to shows. Those are special ones when she can be there. Coming back to the U.K. with this record is actually a very big deal for us and I’m very much looking forward to that. We paid for this record ourselves and released it on our own label with distribution help from Thirty Tigers and I take great pride in that. We were on national television in the U.S. for the first time recently and that was a milestone as well. So it’s been a productive year.

What can your fans expect from Lucero in 2019?

We get to go back to Australia early next year and that is exciting. The plan is to play just enough to pay our bills and make plenty of time to spend with our families. And also get back into Sam Phillips and work with Matt some more. I’m so proud of Among the Ghosts I want to keep writing and recording as much as we can.


Photo credit: Dan Ball

LISTEN: The Maes, “Writer of Love Songs”

Artist: The Maes
Hometown: Melbourne, Australia
Song: “Writer of Love Songs”
Release Date: October 5, 2018

In Their Words: “We wrote the song together musing on the enormous quantity of love songs in the world and their relationship to the people who write them. There is a pervasive urban myth about songwriters that you can’t write good songs while you are in a happy relationship. We wondered whether songwriters can end up living their own narratives of tragedy and loneliness and whether the proverbial troubadour is lonesome precisely because they are living the kind of love that is ripe for songwriting.

“The song is a musical collaboration with John Flanagan who is one of our favourite people to sing with and we wanted to capture this song as a trio, sung with abandon as though round a campfire late at night (as it was many times before we recorded it). Producer/engineer Isaac Barter captured this vibe from us perfectly and then added his own flavor with drums and double bass.” –The Maes


Photo credit: Mick Conlon