Tag: BGS Podcast Network

Finding Lucinda: Episode 4

Posted on by Shelby Williamson

Ismay uncovers a fascinating seldom heard recording of Lucinda from a radio show in 1981, leading them down a path to discover the musical influences in Lucinda’s early Life. Meeting with members of the Grammy Award-winning band Los Texmaniacs, Ismay goes out on a limb and seeks to recreate that radio session in the famed Cactus Cafe.

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Produced in partnership with BGS and distributed through the BGS Podcast Network, Finding Lucinda expands on the themes of Ismay’s eponymous documentary film, exploring artistic influence, creative resilience, and the impact of Williams’ music. New episodes are released twice a month. Listen right here on BGS or wherever you get podcasts.

Finding Lucinda, the documentary film that inspired and instigated the podcast, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.

Credits:
Produced and mixed by Avery Hellman for Neanderthal Records, LLC.
Music by Ismay.
Final song by Los Cenzontles Cultural Academy
“Libro Abierto (ft. Flaco Jimenez)”
Artwork by Avery Hellman.
Music Supervisor: Jonathan McHugh
Austin, Texas recordings at The Cactus Cafe
Sound recordist: Rodrigo Nino
Producer: Liz McBee
Director: Joel Fendelman
Co-Director & Cinematographer: Rose Bush
Special thanks to: Eugene Rodriguez, Matt Bizer, Mick Hellman, Chuck Prophet, Don Fierro, Jacqueline Sabec, Rosemary Carroll, Lucinda Williams & Tom Overby

Find more information on Finding Lucinda here. Find our full Finding Lucinda episode archive here.

Basic Folk: Dar Williams (Reissue)

Posted on by Shelby Williamson

(Editor’s Note: Welcome to our Reissue series! For the next several weeks, Basic Folk is digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it’s like to listen back. Enjoy!)

Dar Williams, originally from Mount Kisco, New York, grew up in an era and a household where everyone was tearing down the old ways of doing things, and learning new ways of expressing themselves. For Williams this meant participating in theater and learning to play instruments. She attended Wesleyan University where she studied theater and religion. A deep engagement with matters of the heart and spirit continues to permeate her work today.

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After college Dar found herself in Boston, immersed in the singer-songwriter scene. She wrote and released her album The Honesty Room, which changed everything. That album started her on a path to becoming a venerated performer in the folk space. She was on the original Lilith Fair lineup, which included too many musical legends to name here. It was a dream come true to talk with Dar about that experience, about what it might take for another Lilith Fair to happen, and about the current climate for women in the music industry.

Dar’s latest album, I’ll Meet You Here, was released on October 1, 2021. This beautiful collection of songs was mostly recorded pre-COVID, but then hit a number of road bumps on its way to release. It deals with time, acceptance, places, and small towns, topics about which Dar Williams is a master storyteller.

Photo Credit: Ebru Yildiz

Finding Lucinda: Episode 3

Posted on by Shelby Williamson

Ismay visits cornerstone music venue The Hole in the Wall in Austin to interview Charlie Sexton, the producer and songwriter who’s best known as a guitarist for Bob Dylan. They discuss Charlie and Lucinda’s first gig together in 1979 when he was just a kid. Charlie shares insights into Lucinda’s remarkable songwriting, as well as the emotional struggles musicians face with self-doubt.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

Produced in partnership with BGS and distributed through the BGS Podcast Network, Finding Lucinda expands on the themes of Ismay’s eponymous documentary film, exploring artistic influence, creative resilience, and the impact of Williams’ music. New episodes are released twice a month. Listen right here on BGS or wherever you get podcasts.

Finding Lucinda, the documentary film that inspired and instigated the podcast, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.

Credits:
Produced and mixed by Avery Hellman for Neanderthal Records, LLC.
Music by Ismay.
“Sundays” written by Lucinda Williams.
Artwork by Avery Hellman.
Music Supervisor: Jonathan McHugh
Austin, Texas recordings at The Hole in the Wall.
Sound recordist: Rodrigo Nino
Producer: Liz McBee
Director: Joel Fendelman
Co-Director: Rose Bush
Special thanks to: Mick Hellman, Chuck Prophet, Don Fierro, Jacqueline Sabec, Rosemary Carroll, Lucinda Williams & Tom Overby.

Find more information on Finding Lucinda here. Find our full Finding Lucinda episode archive here.

ISMAY on Only Vans with Bri Bagwell

Posted on by Shelby Williamson

Today we make a new friend! ISMAY is an outstanding human and artist based in California who happens to have a podcast of her own on The BGS Podcast Network! We went wayyy over on time so you’re welcome and I hope you enjoy learning about ISMAY as much as I did!

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ISMAY is an alternative folk music project driven by California-based singer/songwriter Avery Hellman. Avery does it all: curates a music festival called Woollystar, releases amazing records (go listen to ISMAY’s Desert Pavement LP now), and is currently working on a project documenting the early-musical footsteps of Americana icon Lucinda Williams. We dive into that immediately, and bring up Charlie Sexton, an amazing producer who was in Bob Dylan’s band and co-founded the Arc Angels. The Finding Lucinda podcast they recorded on this journey is out NOW everywhere you listen, and is presented by our same amazing podcast network, The Bluegrass Situation! Growing up on a farm in Sonoma County, California, with a grandfather who founded the Hardly Strictly Bluegrass Festival, ISMAY is an incredible product of that farm and musical lifestyle. You’re gonna “flip” when we talk about Avery’s phone, and we were instant friends!

 

Basic Folk: John Hiatt (Reissue)

Posted on by Shelby Williamson

(Editor’s Note: Welcome to our Reissue series! For the next several weeks, Basic Folk is digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it’s like to listen back. Enjoy!)

In 2021, John Hiatt released Leftover Feelings (which is still his latest album, by the way), a collab with bluegrass great Jerry Douglas as producer and his band as backup. Hiatt’s digging into some serious past memories for these songs, which include one about his older brother, Michael. Michael died by suicide when John was only nine and it’s only recently that he chose to write about the experience with the track, “Light of the Burning Sun.” Jerry knew that the material was very serious and approached it lovingly with John and band. On Basic Folk, John expands on his grief and talks about giving himself the time and space to mourn. We also chat about the importance of radio in John’s young life: he would listen to WLAC from Nashville as a kid around 11 years old. There was a gospel show on Sunday night and the station would go to a different Black church every week to broadcast services. As
Hiatt has said, “Those gospel shows used to scare the shit out of me.” That opened his world to a completely different way to relate to music, in terms of faith.

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Hiatt picked up the guitar at 11 years old, partially to cope with the trauma resulting from being an overweight child. This was especially hard because he was a bigger kid at a time when it was rare for a child to be heavier. He discusses how music and, surprisingly, drugs and alcohol helped him overcome his weight issue. Then, of course, the drugs and alcohol led him to new problems in his adult years, requiring overcoming that addiction to live a sober life. John also talks about his kids, which includes musician Lilly Hiatt. Lilly said in an interview once, “I was crying over the fact that my career seemed stalled and I wasn’t the flavor of the month, and Dad said, ‘Lilly, we will never be hip. We’re just not those people.’”

John Hiatt has been a steadfast songwriter since the ’70s who’s written many well-loved songs such as “Have a Little Faith in Me,” “Cry Love,” and, of course, “Thing Called Love.” The writing on Leftover Feelings spans several decades and confronts some of his most vulnerable feelings. To be able to talk to John Hiatt about this project was a sincere privilege and we hope you enjoy!

Photo Credit: Patrick Sheehan

Basic Folk: Anaïs Mitchell (Reissue)

Posted on by Justin Hiltner

(Editor’s Note: Welcome to our Reissue series! For the next several weeks, Basic Folk is digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it’s like to listen back. Enjoy!)

Listening back, I feel like this 2018 interview with Anaïs Mitchell holds up. Originally published on January 10, 2019, Hadestown was about to debut on Broadway, the pandemic was still over a year away, and we were young and full of autumn. Our Basic Folk interview includes a really interesting discussion about feminism (with just one squeamish reference to fourth-wave being about “non-binary” from yours truly. Eeek!). Anaïs talks about her childhood on a sheep farm in Vermont. She unpacks her love for and loyalty in her collaborations and the mystical way she found her visual artist (Peter Nevins) for Hadestown.

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We also talk about Hadestown receiving some “viral” attention in 2016, thanks to a Tr*mp campaign promise to build a wall on the southern border. People latched onto her 2006-penned song, “Why We Build the Wall,” which is one of the pinnacle tracks from the Tony Award-winning Broadway musical. Anaïs opens up about how she met her husband, Noah Hahn, and her early musical beginnings in Boston at Club Passim.

This episode was recorded just as Hadestown was set to open at the Walter Kerr Theatre on Broadway in March 2019. This was also a year before her band, Bonny Light Horseman, would release their debut album. I’m proud of our conversation, which includes some chiming in from Anaïs’ guitarist Austin Nevins, who was on tour with her at the time of the recording. We three are old friends and we were trying to record the interview and hang out at the same time. I’ll leave it up to you to decide if we succeeded!

Photo Credit: Mitchell Shervin

Basic Folk: Morgan Toney

Posted on by Justin Hiltner

Circles have played a huge role in fiddler and singer Morgan Toney‘s life thus far: from drum circles, to talking circles, to the Earth itself (a circle!). In our Basic Folk conversation, Morgan talks about his L’nu (also known as Mi’kmaq) heritage and growing up on what’s now called Cape Breton, Nova Scotia, where his ancestors have lived since time immemorial. He elaborates on the significance of the terms ‘Mi’kmaq’ and ‘Nu,’ explaining the shift in terminology among his people. As a teenager, he discovered his Indigenous heritage and cultural roots from his elders after he moved to Wagmatcook (a First Nations reserve) and learned about how the power of music could shape his life. He shares the story of first hearing Phil Collins at his uncle’s house after school, which inspired him to take up the drums. He soon discovered First Nations drumming by directly learning the songs from elders in talking circles. Morgan also talks about his transition from a shy teenager to a confident musician deeply immersed in both Mi’kmaq and Celtic musical traditions, creating a unique fusion which Morgan calls “Mi’kmaltic.”

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We also talk about Morgan’s emotional connection to his community and the importance of music in rediscovering and celebrating his Indigenous heritage. He recounts how his exposure to traditional Mi’kmaq songs and ceremonies as a teenager was a transformative experience that reignited his cultural pride. In music and in our conversation Morgan pays homage to his family members, especially his elders, who played pivotal roles in nurturing his musical talents and helping him embrace his cultural identity. Finally, Morgan reflects on his musical collaborations, including his close partnership with producer Keith Mullins, and the creation of his new album, Heal The Divide. He further explains the innovative process of blending Mi’kmaq and Celtic musical elements, the album’s thematic focus on community and healing, and his aspirations to inspire the younger generation of his community. This was truly an inspiring conversation exploring the intersections of culture, history, and music with a very special musician!

Photo Credit: John Butler

Finding Lucinda: Episode 2

Posted on by Justin Hiltner

Ismay arrives in Austin, Texas to dig through the Collections Deposit Library at the University of Texas in order to understand the life of Lucinda Williams’ father, Miller. A poet and teacher, Miller Williams overcame setbacks to become a prominent writer. Ismay discovers his personal writings, letters, and photographs, highlighting his mentorship and the artistic community that shaped Lucinda’s career.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

Produced in partnership with BGS and distributed through the BGS Podcast Network, Finding Lucinda expands on the themes of Ismay’s eponymous documentary film, exploring artistic influence, creative resilience, and the impact of Williams’ music. New episodes are released twice a month. Listen right here on BGS or wherever you get podcasts.

Finding Lucinda, the documentary film that inspired and instigated the podcast, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.

Credits:
Produced and mixed by Avery Hellman for Neanderthal Records, LLC.
Music by Ismay.
Artwork by Avery Hellman.
With recordings from The Collections Deposit Library at UT Austin, and records from The Harry Ransom Center.
Sound recordist: Rodrigo Nino
Producer: Liz McBee
Director: Joel Fendelman
Co-Director: Rose Bush
“The Caterpillar” and “Of History and Hope” appear courtesy of Rebecca Jordan Williams.
Special thanks to: Mick Hellman, Chuck Prophet, Jonathan McHugh, Jacqueline Sabec, Lucinda Williams, and Tom Overby.

Find more information on Finding Lucinda here. Find our full Finding Lucinda episode archive here.

Bart Crow on Only Vans with Bri Bagwell

Posted on by Justin Hiltner

Today’s guest on Only Vans is one of my bestest friends in the whole world, Mr. “Wear My Ring” himself, the one and only Bart Crow! We talk about everything from sales tax and pranks to parenthood and career trajectories.

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I want to tell you about how much I absolutely adore my friend Bart Crow, but since I don’t have two hours, you’ll pick up on it throughout the podcast. From Maypearl, Texas, Mr. “Wear My Ring” is as cool as he sounds – and dresses. Seriously, Bart always looks great. Shout out to the wifey for some of that, I’m sure.

We talk a lot about Bart’s new EP, Hey Pretty Thing, which was recorded at the studio of Gordy Quist from the Band of Heathens called The Finishing School. The “Nick” we refer to here as the EP producer is the one and only Nick Jay. I love the insight on recording a full-length album versus an EP. I’ve really wanted to dive into that and Bart was the perfect person for that conversation and much more – like not traveling with a band trailer or your own sound person!

We talk about the old days of touring and how it’s okay to play less and make more, even though that’s still a giant mind-shift for us both. I am glad that at the end we summarize we are very happy with our careers, but Bart always wants more in his career just like I do, which is probably why we are such great friends. Don’t take it too hard if a record doesn’t catapult you into superstar fame. You can still have a long, fantastic career and become best buds with someone that’s your hero, like me with Bart.

Oh! And if you don’t know like I didn’t know (but pretended to), Bryce Harper is a baseball player for the Phillies.

 

Basic Folk: Kris Delmhorst

Posted on by Justin Hiltner

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.

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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?

Photo Credit: Sasha Pedro