Artist:Donna Ulisse Hometown: Hampton, Virginia Latest album:Time for Love Personal nicknames (or rejected band names): Lots of family and friends just call me “Da”, which didn’t work so well for me when we were in Russia doing some shows because da means yes in their language so I was always turning my head in big crowds, thinking someone was calling me! My band members sometimes call me by my initials: D.U.
Which artist has influenced you the most … and how?
My dad and I have always had a major crush on Loretta Lynn! From as far back as my memory will go, I have admired her sassy songs and her way of delivering them. In my world, she is and will always be the cat’s meow. It took becoming a serious songwriter to realize that I also loved her writing. When I was young I didn’t give much thought to who wrote her songs, I just simply loved them. As I matured in this business I was struck by how many of the artists I adored actually wrote their own songs and Loretta was at the top of the heap.
When I started my journey into the bluegrass genre, my first producer, Keith Sewell, hit the talkback button in the studio after we cut a song I wrote called “When I Look Back” and said he thought I wrote like a mix of Loretta and Dolly. I didn’t touch the ground for two weeks after that. What a wonderful compliment! Loretta’s influence is certainly pronounced throughout my song catalog.
What’s your favorite memory from being on stage?
This one is easy! I was 12 and I was asked to sing one song at a popular venue in Mathews, Virginia, called Donk’s Theater. The show was loosely patterned after the Grand Ole Opry, with a staff band that would help spotlight young talent and I was one of the fortunate recipients. My mom and dad were SO excited! They invited all kinds of family and friends, probably thirty or so. The week before the show dad took me out shopping; I’ll never forget it. He let me buy a Gunne Sax dress that reached the floor. I thought I looked just like Loretta Lynn. I twirled in front of my mirror for hours when I got home and used my hairbrush to practice holding a microphone.
The night of the show is still so clear. The place was packed and the spotlights were incredibly bright. I was given a generous introduction and I walked out and sang a Loretta Lynn song, “Somebody Somewhere,” to the top of my lungs. I loved it, every moment, smell, sight, clap, note… all of it. Years later, my Aunt Helen told me that my mom and dad lost all their color when my name was announced and never blinked or swallowed while I was on stage, bless their hearts. I guess I didn’t have to be nervous, Mom and Dad did that for me.
What was the first moment that you knew you wanted to be a musician?
In all honesty, I knew I would be on stage when I was very young, maybe 5 or 6 years old. I have never dreamed of another career, it was always going to be the stage for me. But if you want to know the exact moment my star was born, it would be that Loretta Lynn song I performed on the Donks stage when I was 12. I owned it and never looked back.
If you had to write a mission statement for your career, what would it be?
I’ve never been good with homework, but I believe the topic of my mission statement would be perseverance! I have never given up on my dream of performing, even through the darkest of times. I was one of the blessed when I was signed to Atlantic Records in the early ’90s. A major country deal is a huge accomplishment and much coveted. I was out in L.A. doing a Dick Clark show when I got the call that I lost my deal. It was brutal, heartbreaking. I was so lost in those days but I knew deep down there was a place for me to sing.
I turned my heart and hopes into songwriting and it saved my music life. Through songwriting I discovered the mountains that lived in my soul and I started writing Appalachian sounding tunes that led me into this warm and wonderful world of bluegrass. I am having success in this business a little late, but so very cherished and appreciated. This is the world I was always meant for and perseverance got me here!
Which elements of nature do you spend the most time with and how do those impact your work?
My husband and I bought a little farm outside of Nashville a few years ago. I’m not your typical farm girl but I love this land. It has a sweeping field that leads down to a creek and I spend lots of time watching goats and cows and all the changes that spread across the field. In the spring, vibrant yellow flowers show off the new season like a Sunday hat. In the summer there is so much purple bursting out all over the tall grasses, reminding me of an Irish hillside. In the fall there are elements that look like a harvest, like a bounty was laid there though we don’t plant anything, and in the winter the field lays there like temptation and whispers for springtime. This is where so much of my inspiration is found these days. I write about the spirit and the glory and the life that I see from my table on the porch.
After a dozen years of success, Dailey & Vincent are currently in a period of transition. Building on the popularity of The Dailey & Vincent TV Show on RFD-TV, their next album will be the first straight-up country record they’ve ever done – following up last year’s holiday album, The Sounds of Christmas, which provides the playlist for The Joys of Christmas Tour happening now through December 15.
In the second portion of our interview with BGS Artist of the Month, Dailey & Vincent, we catch up with Darrin Vincent.
BGS: How does the musical division of labor work with you two?
Vincent: We collaborate together on pretty much everything, looking for songs and arranging and producing. But this country album, I don’t think we’ll do that the same because we’ll have an outside producer [Kyle Lehning] for the first time. It will be different to be just artists this time, throwing ideas over to him. It’s exciting and also scary to let go of complete control, and it will be interesting to see how this goes, to let someone else drive the bus.
We prayed on it, that we’d be led to the right person who has the same vision, and it seems like he does. You have to have faith and move on it. If it does not do well, OK, we’ll go back to what we did before. For now, it’s kind of fun to not have quite so much to deal with because we’ve got plenty on our plate with the TV show.
How close are you and Jamie offstage?
We live too far apart to really hang out, but I love him like a brother. Yes, we’re business partners, but if either of us is hurt or needs prayer, we’re there. Both of us know that if either of us needs anything, night or day, just call. We’re very close, but we also have to have space away from each other just like any other family. He’s a good man and I love what he stands for, even if we don’t see eye-to-eye 100 percent of the time.
Before Dailey & Vincent, you played in Ricky Skaggs’ band. What did you learn from him about running your own band?
Quite a lot about what to do, and also what not to do. But a lot more about good things to do, like rehearse in a nice facility, go first class, don’t cut corners. It drove home the importance of creating records that will last. When you’re recording, do it right the first time and not because you want to be friendly with someone or promised something to this or that person.
We’ve all been there before, cutting corners because you don’t have the money or getting some friend to play on something even though they might not be as good as Stuart Duncan and you don’t want to hurt anybody’s feelings. But you have to do what you feel the song needs and don’t back off, whatever other people think. Keep the integrity of music to the highest possible standard because once you put it on a CD, it’s forever and never goes away. Get whoever best fits the song.
Do you ever miss just being a hired hand?
Oh yeah. I’d show up, do my part and go home. Today, we’ve got 20-some people who rely on everything we do. It’s as simple as eating healthy, because these people all rely on our incomes to pay the bills, their mortgages, support their families. It’s a lot of responsibility and it takes a toll.
Whenever we have to fire a musician or a bus driver, it really bothers me. I’m emotional anyway, but I’ll cry about it when it happens, worry about people. It crushes my soul and we both take it to heart. Being an owner, there’s always a family tree behind it all where a ton of people are relying on your health and business to make sure we’ve all got jobs. There’s so much to it. Playing onstage is the fun part.
What do you think of the state of bluegrass nowadays?
It seems that bands like the Infamous Stringdusters and Old Crow Medicine Show are more popular and lucrative than the genre and structure of the basic bluegrass festival. A lot of the older folks are dying off, unfortunately, along with the festivals with the camping and the jamming and all the things that go with it.
I think the five-piece bluegrass band will survive, but the bluegrass scene seems to be getting smaller and smaller. As a promoter of our festivals and cruises, I see acts with very high standards that do a great job performing bluegrass. I also see acts with bigger egos than they need to have, which is just bad, gives a black eye to the whole bluegrass scene. I’m just talking for me, what I see.
Is it hard to find time to practice, play and write music?
Unfortunately the business side keeps me really busy. But at home, I do have the guitar out all the time. It’s by the bed and I take it into the mobile office where I do business stuff. I have to play every day just to keep the motor skills going. I love to hear different things out of the guitar. I get depressed, get happy, and music soothes my soul. So does prayer, of course. I enjoy playing. Not just trying to get better for the show but it’s something that satisfies me and what I need that time of my day.
What are some artists you like that might surprise people?
I love Michael Bublé, Harry Connick, Chicago. I think Metallica is amazing. Now I’ve never heard them sing a gospel song and they’ll have some things to deal with at the end times of their lives. But they’ve got great harmonies, triple guitars and the musicianship is incredible. Iron Maiden is another, even though they have “666” painted on their 747 and I don’t like their lyrics. But they’re very talented people.
There’s even this group from Russia that’s as devil-worshiping as you can get, but they have a unique sound. I can’t even say their name, but the art value and production of their show is amazing. I’m not trying to give the devil any credit, but I like lots of music for the art value.
It’s a common bond through musicians, taking the stage and communicating with people. I love to watch different artists no matter the genre, how they’re communicating whether they’re kids or older. Mike Snider has just incredible communication with the audience. I sit and cry watching him, it’s so funny, but so simple. The knack and ability to do that is amazing and not everybody can. Jamie’s great at it, too. A lot of bands have no charisma whatsoever. They play great and sing OK, but there’s no charisma for the audience and it just dies. There’s an art to that.
Which of your many awards are you most proud of?
By far, becoming a member of the Grand Ole Opry. I’ve been blessed to win five Grammys, which were enormous milestones in my life. They were the biggest thing I’d done, until the Opry. It’s very nice out at Opryland, which is cool with a lot of history. But the ultimate is going back to the Ryman and memories of Ernest Tubb, Patsy Cline, Hank Williams, standing in the same place Elvis Presley stood. Just the history of all the people who walked through there and paved the road to where country is today, that’s overwhelming and humbling.
Dailey & Vincent, the Nashville-based band led by Jamie Dailey and Darrin Vincent, is among the most honored acts in all of bluegrass. They’ve won multiple IBMA and SPBGMA Awards, had all nine of their records crack Top 10 on Billboard‘s bluegrass albums chart and, since 2016, they’ve been full-fledged members of the Grand Ole Opry.
Their newest release is 2018’s The Sounds of Christmas, which they’ll be supporting on tour this month. As our December Artist of the Month, BGS caught up with each frontman separately before they hit the road, starting with Jamie Dailey.
BGS: Where do you think The Sounds of Christmas ranks in your catalog?
Dailey: Well, it was something seeing it between Michael Bublé and Pentatonix in the Top 10 of the holiday chart, and it stayed up there for several weeks. It really is just about my favorite of all the records we’ve ever done – just the quality of the vocals. It’s bragging, I guess, but it’s the best-sounding vocals we’ve ever recorded, for sure.
I am of course a lover of Christmas music, and also Christmas. I grew up in a very modest family that couldn’t afford a lot, but we always put up a tree and had Christmas lights all over the property. Mom still cooks a big traditional American family Christmas meal. You’d think my mom would be used to it by now, but I like to sneak into her kitchen, highjack her laptop and put something crazy on Facebook. That’s always fun. One time a couple of Christmases ago, her preacher was calling within 10 minutes to ask if she was OK. I could hear her: “WHAT?! Jamie, I am gonna KILL you!”
It’s time for another record, what’s the story on the next one?
We just signed our first country music deal, with BMG, to do a country album. We’ve never done one so we’re very excited about that. We’ve said from day one that we never wanted to be boxed in and we wanted to write and play and sing and record whatever we wanted. We’re working with Keith Stegall, who has produced Zac Brown, Alan Jackson, and a whole bunch of others. We just signed a new TV deal, too, to do a more mainstream TV show than what’s been on RFD all these years.
Out of all the awards you’ve won, which one means the most to you?
Hands down for both of us, joining the first family of country music in the Grand Ole Opry. It’s only 200-some members and 84 of us still living, so it’s very special to be part of that family. We work the Opry six to nine times a month between tour dates, which makes us busy, but we’re happy to be there. It’s always a joy. Hard to explain the feeling you get when you’re there.
Before Dailey & Vincent, you spent almost a decade in Doyle Lawson’s band. What’s the most valuable thing you learned from him?
How to be a constant road professional, and how to be more consistent onstage and not just listen to yourself, but to your fellow bandmates to make up a well-oiled unit. He’s a good man. The lessons were priceless. And if you’ve ever led a group, you also learn things you don’t want to do. As leaders, we all run across those times when you’re trying something that doesn’t work.
You did the IBMA keynote speech last year, on “Branding Bluegrass.” What do you think that is?
We live in the most interdependent age in history. Everyone has the ability to reach more people than ever before. We all have to figure out ways to become more involved. I’d tell young musicians to stay absolutely focused and follow your heart. Record labels and managers are right about a lot, but not always about everything. So don’t allow yourself to be led down a road you don’t want to be on. Be persistent and aware, and learn as much as you can to stay up with what’s going on.
The Dailey & Vincent brand is bigger than just bluegrass, which we make no bones about. We’re gospel and country as well as bluegrass, and we’re happy to do all of that. You can tell from the TV show and the Opry, we’ve tried to diversify our craft to get into buildings we would and could not have before. We’ve been blessed to perform at Carnegie Hall three years in a row, which would not have happened if we were doing only bluegrass.
What do you tell people who want to go into the music business?
The business is changing constantly, so you have to stay on top of that. Living in this interdependent world, it’s like there are a lot more nets than walls and you can reach a lot more people. We’re artists, so let’s make music, let those who like it find it and cater to them.
Some years ago, a lot of bluegrass festivals were kind of stagnating without a lot of growth. So we decided to pull back and go into more venues on our own to draw our own crowds and grow that way rather than getting beat over the head for not fitting some narrow mold. We did not want to be in that box, so that’s some of the changes we’ve made the last eight years — out of 12 going on 13. That’s what we’ve done and why we’ve done it, and it’s had tremendous impact on our career and vision.
Who among your peers do you admire and enjoy?
I love Keith Urban, what a good guy and a great musician and singer. Very creative. I love Norah Jones and Adele, too. The music I listen to ranges all over. Sinatra and Tony Bennett, too. I love orchestras and symphonies, and go to [the symphony] in Nashville when I can, and it’s what I listen to when I’m reading. I love going back to Guns N’ Roses and Journey as well as Conway Twitty. It’s a broad list.
You participated in some diplomatic missions to Germany and Switzerland a bit more than a decade ago. How did that happen?
It was terrifying in some aspects, but I learned a lot from my dear friend now passed, U.S. Ambassador Faith Ryan Whittlesey. We met at Yeehaw Junction, a bluegrass festival in Florida, when her daughter took her. I was with Doyle at that time, 23 or 24 years old, and I’d been praying for the Lord to use me to help my country because I regretted not joining the military.
So we do this show and her daughter came up afterward to say she wanted to meet me. Sure. “Hi, Jamie, I’m former Ambassador to Switzerland, on the U.N. Security Council.” My eyes are getting bigger and bigger. “I need you to travel with me to do some diplomatic work. Use your country bumpkin charm, sing a song here and there, and engage with foreign and business leaders.” I almost passed out.
But she called the following Monday morning and I started flying to D.C. and New York every few months to learn table etiquette, receiving-line protocol and things like that. She was stern and very, very formal. But after she saw how stupid I can act, I got to know her enough to break into her humorous side. I started traveling with her to Switzerland and Germany to participate in some things, which was a wonderful experience I’ll cherish the rest of my life.
Do you have any interest in going into politics someday yourself?
At one time, maybe so. But the more I see of what goes on, especially these days, not so much. I believe I can be more effective where I am in my career than in political office, where you have to deal with incoming fire and problems that weigh you down and keep you from doing things. But I can move in and help without having to worry about the politics and trash that goes on now.
I’ve been asked, but no. Maybe later in life, if a president I can believe in strongly wins and I get involved, maybe I’d consider being Ambassador to another country for a few years. But who knows. There’s a lot to it, and a lot can happen. I may end up dying from too much chocolate.
Illustration: Zachary Johnson Photo: Erick Anderson
Steep Canyon Rangers have been musical ambassadors of North Carolina for nearly 20 years, and during this year’s set at MerleFest, they presented a wide-ranging performance drawing on their home state’s diverse contributions to American music. That feel-good Sunday afternoon show is now available as an eight-song live album, North Carolina Songbook.
The collection covers inspirations from jazz musician Thelonious Monk, folk/blues hero Elizabeth Cotten, and enduring acoustic legends such as Doc Watson and Flatt & Scruggs. Replying by email, mandolin player Mike Guggino answered these first five questions, with singer/guitarist Woody Platt rounding up the remainder.
BGS: The music of North Carolina can be an overwhelming subject. What was the audition process, so to speak, when it came time to deciding which songs you wanted to include in your set?
Guggino: We all tried to come to the table with songs that we thought might work for the set. We knew we needed not only good songs, but also songs that worked well together to make the set flow. We needed the set to have some diversity, some highs and lows dynamically. We also wanted to feature different members of the band throughout the show.
These songs are familiar, of course, but how much did you rehearse the set list before singing at MerleFest?
We starting working on the tunes a few months before the show. We tried to incorporate many of the tunes into our shows leading up to MerleFest to get an idea of how they worked within the set.
Naturally it’s important to have Doc Watson and Rosa Lee Watson represented. How often did you cross paths with them, and what do you remember most about them?
We all started going to Merlefest in our college years and Doc would perform every year. Seeing him play live was always a highlight of the festival for us. His was some of the first bluegrass/Americana music many of us in the band were ever exposed to. We starting learning many of Doc’s tunes for our shows early on as a band. Many years later, Doc played our festival (Mountain Song Festival) in Brevard. He was one of the nicest musicians I have ever met. It was an honor to meet him and none of us will ever forget that experience!
“Don’t Let Your Deal Go Down” is a bluegrass staple. Do you remember how you all first heard that song?
That was one of the first Flatt & Scruggs tunes we ever heard or tried to learn. I’ve always loved the ragtime-like chord changes in that tune. Also, Earl played it open and the tune is in F major. It definitely gives it a unique sound on the banjo. I think Graham played the heck out of that one on the record!
What were the conversations like as you were deciding what kind of arrangement you wanted to give “Stand by Me”
We all agreed we wanted to feature that beautiful string solo section in the middle. This required a few extra fiddlers to make it happen and it came off so nicely. Woody really sings it with a lot of passion and that is really what makes the song work, in my opinion. We didn’t end up straying too far from the original arrangement in the end. It’s a simple song and we didn’t want to overthink it.
True to its name, “I’ve Endured” has been around a while. What pulled you toward this song?
Platt: This song was a natural fit — not only was Ola Belle Reed a clawhammer banjo player from Grassy Creek in Ashe County, North Carolina, but this song and several of her others have been pulled into the bluegrass genre. We have heard several versions of “I’ve Endured” and we are proud to now have our own.
This album is coming out on vinyl on Record Store Day. Who is the biggest vinyl collector among you?
Everyone in the band has an interest in vinyl and has a nice collection. Without doing an exact count I’d have to say Graham [Sharp, on banjo] is the biggest collector.
“Sweet Baby James” is a highlight of this album. Who is the biggest fan of James Taylor in the band?
James is from Chapel Hill, North Carolina, where the band was originally formed. All of us have connections to his music in some way or another. I’d guess Barrett [Smith, on bass] is the biggest fan. He did a great job channeling James’s vibe and delivery on this version.
North Carolina Songbook provides a chance for you to share part of your state’s musical heritage with the world. What do you hope fans will take away from the experience of listening to this album?
The takeaway is North Carolina’s incredibly rich and diverse musical history! Also, we have recorded nearly 100% of our own original music throughout our career — so it’s fun to show a different side of the band and how we can interpret other songs and deliver them in the SCR style.
What lies ahead for the Steep Canyon Rangers in 2020?
We have a few new projects coming up in 2020. A collaboration with the Asheville Symphony will be released in early 2020. Later in the year we will be releasing a new project of all original SCR material. Other than that we plan to continue to tour and play theaters, clubs, and festivals all over the country and abroad. There will also be some touring with our banjo buddy Steve Martin.
Dailey & Vincent have ventured well beyond bluegrass by paying respect to musical tradition, singing like siblings (although they aren’t), and delivering their signature goofy one-liners. Year in and year out, they bring an entertainment value to their show, whether it’s on a tour of performing arts centers, starring in their RFD-TV series, or appearing at the Grand Ole Opry.
Although Jamie Dailey and Darrin Vincent came from highly regarded bands before forming their duo, they are now certainly trailblazers in their own right. For example, Dailey delivered an insightful IBMA keynote address in 2018 about branding bluegrass. And they have shown the ropes to a decade’s worth of rising talent.
Coming up later in the week, BGS will post exclusive, one-on-one interviews with both Jamie Dailey and Darrin Vincent, shining a year-end spotlight on their remarkable career. In the meantime, please enjoy our brand new BGS Essentials playlist.
Artist:Ben Krakauer Hometown: Black Mountain, North Carolina Song: “Heart Lake” Album:Heart Lake Release Date: December 17, 2019 Label: Blue Hens Music
In Their Words: “I wrote ‘Heart Lake,’ along with the rest of the tunes on this album, with these particular musicians in mind. ‘Heart Lake’ was my attempt at a fiddle tune, which morphed into something different by the time I finished writing it. Like John Hartford’s string band records, it shifts in texture every 16 or 32 bars. It’s named for one of my favorite places, near Mt. Shasta, California. Featuring Duncan Wickel on fiddle, Nick Falk on drums, and Dan Klingsberg on bass.” — Ben Krakauer
Some songs have a message too important to ignore. In a moving song and poignant video, Argentinian string band Che Apalache tell the story of one immigrant boy and his family residing in North Carolina. By singing of the struggles of one Moises Serrano in “The Dreamer”, Che Apalache share the experience of so many thousands of immigrants living in the U.S.
Serrano is actually a close friend of Che Apalache frontman Joe Troop; having grown up together in North Carolina, the two became fast friends over their shared Appalachian roots and prominent roles as queer activists in a sometimes culturally narrow part of the country. The song is the lead single on Che Apalache’s new Béla Fleck-produced albumon Free Dirt Records, Rearrange My Heart. While the song — and video — may be heartbreaking, their message comes at a pivotal time in the history of our country’s government.
If you would like more of this impactful content, Serrano is also the subject of a documentary titled Forbidden: Undocumented and Queer in Rural America. In a time of so much political discord, we are thankful that music can subvert the noise and bind us, one human to another.
As February’s kick-off of WinterWonderGrass 2020 grows closer, the festival is excited to share with BGS the official daily schedule for their Colorado edition, taking place February 21-23 in Steamboat Springs. One of the biggest delights includes the announcement of a second headlining performance by Billy Strings, who will now play the main stage on both Friday and Sunday nights.
In conjunction with the daily schedule announcement, WinterWonderGrass plans to release a limited quantity of single-day tickets starting Tuesday, December 3. Weekend general admission passes will move to a new pricing tier starting Tuesday, December 10. Tickets and more info available here.
“We are super pumped to announce that Billy will not only perform his first headlining WinterWonderGrass set on Friday night, but that he and his band really wanted to stick around and enjoy that Steamboat hospitality, so we added him as a co-headliner on Sunday before Margo Price,” festival founder Scotty Stoughton says. “It’s a testament to Billy’s appreciation and gratitude for his fans, the community, and the WinterWonderGrass family.”
Gates open at 1:45 p.m. each day and music kicks off at 2 p.m. during the three-day music festival, with Friday and Saturday night’s programming lasting until 10:30 p.m. All attendees 21+ are invited to take part in the complementary beer sampling from 2:00-5:00 p.m. each day during the event.
Performances across the Soapbox, Pickin’ Perch, and Jamboree stages will see many artists perform two consecutive sets, and each night, performances on the Close Pick stage will close the festival.
VIP tickets to Steamboat’s stop are already sold out, but fans are encouraged to check out the official fan-to-fan ticketing exchange powered by Lyte if they’re in search of tickets as more of the dates and tiers sell out.
Stay tuned for more information on Grass After Dark programming and beer partners for the 2020 season.
Check out the full, announced schedule:
Twisted Pine kicks off the music for the weekend on the Soapbox stage from 2:00-2:30 p.m. and 3:40 – 4:20 p.m., followed by Molly Tuttle at 5:35-6:15 p.m. and 7:45-8:25 p.m. Steamboat locals Buffalo Commons open the Pickin’ Perch stage with performances at 2:00-2:40 p.m. and 3:40-4:20 p.m., followed by the Jon Stickley Trio at 5:35-6:15 p.m. and 7:45-8:25 p.m. The Jamboree stage opens on Friday at 2:00 p.m. with performances from Meadow Mountain at 2:00-2:40 p.m. and 3:40-4:20 p.m., with two sets from Jeremy Garrett (the Infamous Stringdusters) + Friends at 5:35-6:15 p.m. and 7:45-8:25 p.m.
The Bluegrass Generals (ft. Andy Hall & Chris Pandolfi of the Infamous Stringdusters) will open the Main stage on Friday from 2:30-3:40 p.m., followed by Della Mae’s headlining performance from 4:20-5:35 p.m. From 6:15-7:45 p.m., Keller and the Keels will take over the main stage and Billy Strings’ headlining debut at the festival will take place from 8:25-10:00 p.m.
Saturday welcomes local Steamboat pickers Jay Roemer Band from 2:00-2:30 p.m. and 3:40-4:20 p.m. on the Soapbox stage, followed by two additional performances from Della Mae at 5:35-6:15 p.m. and 7:45-8:25 p.m. Twisted Pine returns, as well, for performances from 2:00-2:40 p.m. and 3:40-4:20 p.m. on the Pickn’ Perch stage, and the collaborative WinterWonderWomen follow with performances at 5:35-6:15 p.m. and 7:45-8:25 p.m. Telluride Bluegrass winners Bowregard takes the Jamboree stage from 2:00-2:40 p.m. and 3:40-4:20 p.m., with Cris Jacobs Band to follow at 5:35-6:15 p.m. and 7:45-8:25 p.m.
Saturday’s Main stage opens with Horseshoes and Handgrenades from 2:30-3:40 p.m., followed by a headlining performance from Molly Tuttle at 4:20-5:35 p.m. Nikki Lane follows, with a set from 6:15-7:45 p.m. and Greensky Bluegrass takes the stage for their headlining performance from 8:25-10:00 p.m.
The Battle Of The Bands winner from the January 11th competition will open Sunday’s Soapbox stage from 3:15-3:55 p.m. Two sets from Che Apalache follow, with sets at 5:10-5:50 p.m. and 7:20-8:00 p.m. Cris Jacobs Band returns on Sunday for three sets on the Pickn’ Perch stage at 3:15-3:55 p.m., 5:10-5:50 p.m., and 7:20-8:00 p.m. The Jamboree stage closes out with three sets from Pickin’ On The Dead at 3:15-3:55 p.m., 5:10-5:50 p.m. and 7:20-8:00 p.m.
ALO opens the Main stage on Sunday, with a performance from 2:00-3:15 p.m. and Travelin’ McCourys follows from 3:55-5:10 p.m. At 5:50 p.m., Billy Strings returns for his second headlining performance, and Margo Price closes out the festival’s Main stage from 8:00-9:30 p.m.
Grace Potter possesses one of the most commanding voices in popular music — which is a good thing, because on Daylight she’s got something to say.
Potter co-wrote much of the new solo album with producer Eric Valentine, with whom she fell in love while still married to a member of her band — which is now broken up, too. After their divorces, Potter and Valentine married, started a family, and now live in Topanga Canyon, California.
The overwhelming emotions of these dramatic life changes are channeled into Daylight, with many of the songs written with Valentine, and on occasion, his longtime buddy Mike Busbee, who died in September.
“Love Is Love,” a potent opener to the project, grabbed immediate attention as the first single, but in this interview with BGS, Potter goes deeper into musical pathway that ultimately led her to Daylight.
“Release” is about the aftermath of the breakup. Who was the first person you played that for when you finished it?
Grace Potter: Eric. Busbee actually texted it to Eric but it was only half the song. Our voice recorder cut off before we finished. But he just wanted Eric to hear where we were at with the writing and Eric had to pull over the car because he was bawling listening to it. And Eric doesn’t cry easily. So that was a really important moment and one that I didn’t expect.
That song, I’d started it myself in the bathtub and it had sat in my voice memo bank for like a year and a half before Eric had heard it and was like, “Let’s not sleep on that one. Let’s pursue that and see where it goes.” Obviously it went and went and went and it’s definitely the one that gets under my skin, every time. It’s hard to play live actually.
And you’re setting yourself up as the character that set this all in motion, too.
Yeah. “I know that I caused this pain…” And that really is the full taking ownership and being accountable for your choices and knowing that those choices are not always this self-righteous, “I can do no wrong” thing. Humans are vulnerable. Humans do make mistakes. Humans change their mind. Lives and careers and happiness and financial fortitude – it all shifts and changes over the time that we live. And the more I’ve lived, the more I realize that it’s okay to give yourself permission, to be that vulnerable.
You quoted the opening line to “Release,” and the opening line on “Shout It Out” sets up that song’s storyline, too. I’ve always thought that those opening lines are something you do really well, but I didn’t realize until researching for this interview that you went to film school.
Oh yeah.
So I’m curious, do you think there’s a correlation there? Because when you make a movie, you have those establishing shots in the beginning, and in your songs you have those establishing opening lines.
And sometimes I like to mislead. I like that opening line to take you in, like, a Quentin Tarantino direction. But it’s actually like a Nora Ephron romance. But I really love storytelling. It’s the same thing I do when I’m writing my sets too. Every single song and every musical experience has to take you on an emotional journey. So there’s a launch point and there’s a revelation, which you know, within the first 20 minutes of a movie, you’re always supposed to basically set up the premise of the movie and potentially introduce one twist. For me, my life was full of so many twists while I was writing Daylight that it wasn’t hard.
After the Nocturnals ended, you had to start a band again. What’s an audition process like to be in your band?
I just want to be around people I like first. Then hopefully they’re good at music. For real. Life is too short to be in a band with people that don’t fit into your ethos or feel, or just don’t feel right. You get these feelings, you get a sense when you’re in a room with someone, if they suck the air out of the room and they have that negative energy, it really changes your entire life and your entire demeanor.
You can feel yourself going kind of gray. I call it the Eeyore effect. You know, it’s this “uhhhhh” feeling. So I generally avoid Eeyores. Although an occasional well-balanced, calm person who doesn’t talk all the time is a wonderfully welcomed part of the road because we can’t all be psychotic extroverts. It’s enough with just me and my baby. But I really enjoy finding musicians who specialize in something that’s just one step quirkier than what you would expect.
Busbee, what I loved about him was that not only was he an amazing songwriter, he played the trombone. Just randomly, like, “I studied trombone.” Really? Eliza Hardy Jones, my keyboard player and singer in my band, is a next level, Olympic champion quilter. Quilting is her thing. She’s actually got a huge show in 2020. She’s doing a massive exhibition in Nebraska at the quilt museum.
Our new drummer, Jordan West, was working for Roland demoing the audio equipment, but actually was hiding in plain sight for so many people. I was looking for a female drummer who could sing, or a female bass player who could sing, or a female guitarist who could sing. I just wanted two female voices that could do all the Lucius parts. So it was fitting the puzzle pieces together for me. Instead of auditioning a bunch of people saying, “I know exactly what I’m looking for,” I just waited until I found a flow of people that felt right. And if they happen to play an instrument I needed, then you’re hired.
Kurtis Keber, our bass player, who’s been with us since last year, came into our world through my previous drummer, Matt Musty, who is now out with Train. We miss him all the time, but these happy accidents happen where you find your people. I saw Kurtis the other day. I was like, “Kurtis, what are you doing? Are you in the studio?” He goes, “No, no, I’ve been building. I’m helping do some carpentry.” My longtime guitarist [Benny Yurco] is now becoming obsessed with recording and becoming one of those crazy studio guys — from the humble beginnings of not even using one guitar pedal to this mad scientist lab they have in Burlington, [Vermont] now.
I like jack-of-all-trades people who like doing lots of things. Those are the things that attract me to people. Their strangeness. Their idioms, their specific obsession with just the tiniest little thing. You know, loose leaf tea. You can talk for an hour and a half about loose leaf tea? I’m in, count me in.
I read the lineup of your Grand Point North festival this year and you did an acoustic set on that Sunday night. What is it about that presentation that you enjoy?
Well, Warren Haynes from Gov’t Mule has been a longtime collaborator and it’s been something that we have talked about doing because we share a joy of being musical and not really knowing what’s going to happen. And not having the stakes be so high that there’s an entire band behind you train wrecking. You know what I mean?
Usually you have to rehearse and really gain a mastery over every single song and arrangement, but when you’re doing an acoustic set, there’s so much freedom to explore. Warren’s musicality and my musicality are complementary to one another where we can take it in a lot of different directions and kind of wring out the towel different every night.
We’d done it a lot backstage and not in front of people, but we felt like it would be a cool thing to share because so many musicians, they just get out there and they run the Ferris wheel, they crank the thing up and they do the same show night after night. There’s been nine years of my festival. People have seen me play with my band. They’ve seen Warren play. He’s played three times in my festival. So I really wanted to treat the audience to a different experience.
Is part of that perspective because you went to a lot of festivals growing up?
Yeah. I came from the jam band world. Warren really ushered me into it. I was very much standing in the shadows of some amazingly talented people who paved the way for me. The festival circuit is really the only way that I was able to break out on my own and be noticed and stand out. I think it’s because of those festivals that I have the sense of diversity. I can take it in a lot of different directions and it’s more fun that way.
And if you’d go to a music festival, you’re going to hear seven, eight, ten genres of music in one place and love every single one of them. I think my instincts took me in that direction, to continue on in my career through creating in the moment, more than creating for a forever thing. …
I think none of my records have ever done my musicality justice because it’s like a high school photo album. It’s this one moment — and maybe it was a very manipulated moment that isn’t even the real reflection of what I was feeling in that moment. So Daylight was the opportunity to completely break that down, take away that premise, take away this idea of having to bottle lightning, and package it and sell it to the world. And instead have an experience. Be vulnerable and open to it and see where it takes you.
As you were talking about festivals, I was wondering, did you ever get an ear for bluegrass?
Absolutely. I grew up listening primarily to Appalachian and Celtic music, which have so many deep connections. And from my family’s record collection, I was obsessed with traditional English, Irish, and Scottish songwriting because the storytelling has these archetypes in it. It’s like the Brothers Grimm. There’s these really intense, very dark stories of women that are shape-shifting and there’s these evil goblins, and then they turn into a beautiful woman. This is a combination of fantasy and reality and love and lust and danger and war. There’s all these amazing cinematic storytelling moments in those songs.
So I grew up around that, but then bluegrass came into my world because in the festival scene, there was so much crossover. I got to meet and be in a songwriter circle early on in 2006 with Béla Fleck, Chris Thile, Jim Lauderdale, and Buddy Miller. It was such a cool lineup, pulling all these people together from all these walks of life and just playing. And it was very humbling. It made me realize I got to get my shit together, my instrumentation, because these guys know how to hold it down.
I understand that you’ve moved from Vermont to Topanga Canyon, which must’ve made your inner hippie very happy.
Oh man! My inner hippie became my outer hippie. I walked to the store two days ago in a pirate shirt with a Burberry trench coat, sweatpants, Doc Martens, and a flower crown. And I didn’t even think about it until somebody sent me a photo of it and I was like, “I did what?” That was just my usual day-to-day getup. That’s Topanga. I live and breathe that lifestyle and those people really get me.
It’s a real community too. It’s a small, small group of people. And again, I think the thing I’ve been finding that I want in life is accountability. And in a big city like L.A., you can hit someone with your car, drive away and never see them again and not really ever worry about getting caught. But if I, or anyone in town, sees anything out of the ordinary, we check in on each other. That’s how tight-knit we are, and how much we care about one another. And it’s a really, really wonderful community to be a part of.
What do you hope that fans will take away from the 2020 version of Grace Potter on tour?
You know, everything about my life has been unexpected, even to me, so I certainly can’t tell people what to expect yet because I just — every bit of it has been this ride. And as I’ve gone on as a musician, I realized that my favorite part of being a musician is inviting people into that ride with me. Instead of presenting them with a packaged thing, that is what it is, I don’t know what it is! I don’t know how this is all going to work. I’ve got a baby now and my life has fundamentally changed in so many ways. I can’t wait to see how it manifests onstage. I guarantee you there will still be headbanging, that’s for sure!
I’ve had the good fortune of knowing Kentuckian country queen-in-waiting Kelsey Waldon for almost the entire time I’ve lived in Nashville — more than eight years at the time of this writing. I’ve stood over her unfathomably enormous cast iron skillet, filled to the brim with bubbling, sizzling battered fish. I’ve sung harmony on one too many choruses of “Smoky Mountain Memories” after perhaps one too many slugs of Kentucky straight bourbon whiskey with her, too.
And yet, in listening to her brand new album, White Noise/White Lines, I still found myself picking up fresh tidbits of her extraordinary yet downright ordinary approach to musicmaking, songwriting, self-expression, and artistic exploration. Waldon, despite limitless comparisons to almost every female country forebear to ever growl through a lyric, remains a paragon unto herself, a true singularity in realms of American roots music.
White Noise/White Lines cements the fact (which has always been plain as day to those who dug deep enough) that Waldon will refuse tidy, one-for-one comparisons to any/all other country stars and writers who have come before her or who count themselves among her contemporaries. Except perhaps two: Loretta Lynn — whose “Coal Miner’s Daughter” inspired Waldon’s own “Kentucky, 1988” — and John Prine. The latter is fitting, in so many ways, now that Waldon makes her label home with Oh Boy Records, label of the denizen of Kentucky songs, meat and threes, and plain spoken oracle-like wisdom through lyrics.
A brief album by many measures, White Noise/White Lines captures technicolor moments of Waldon’s life, her joys, her musings, and her homeplace, encouraging listeners to lean into the record’s brevity and engage wholly with each constituent moment therein. Because truth needs no more than a moment.
For BGS I made the trek out to Waldon’s cabin outside of Nashville and after a quick stroll around the vegetable gardens and a tour of the many Kentucky-themed decor items imported from one state north, we settled in the kitchen, sipping water out of mason jars, to talk.
People routinely refer to you as being similar to Loretta, similar to Tammy Wynette, Kitty Wells, Patsy Cline. People are constantly making these comparisons to these kind of foremothers of country and I wonder how that makes you feel, to be a bookend against someone like Loretta or Tammy Wynette?
Kelsey Waldon: Honestly, I think that’s an incredible compliment. Those are all, you know, my sisters that have gone before me, women that I’ve looked up to quite a bit. Especially in the country music realm. However, I also kind of feel like, especially with this new record, I think it’s apparent that hopefully I’m also finding quite a bit of my own thing.
Sometimes when people say things like that to me it’s like, well maybe their scope of country music isn’t that wide. When someone would be like, “You sound like Patsy Cline!” I’d be like, “Uh, no I don’t.” [Laughs] I mean, I love Patsy Cline and I hold her up as something sacred, I wouldn’t ever even sing Patsy just because nothing touches that.
I think it can kind of be, dare I say, a lazy comparison to just kind of name [some popular woman country star.] It’s definitely there. Even sonically, I was so inspired by them. Especially Loretta, absolutely.
I hope the new record showcases that with the years we’ve spent on the road — just using even my own touring band. It starts at country with me, I can’t just flip off a light switch and say, “Oh, it’s not country!” I guess some people can do that, but I don’t see it that way. Country is just so much embedded in me. No matter what form my artistic expression comes out, that’s still gonna be there. It just may not be cookie cutter, it may not be formulated. It may not even sound exactly like that. One thing that I think the growth of this record shows, hopefully, is that these are my songs, I’m not a throwback artist. I’m not a retro artist. I am an artist making music in 2019.
I did want to talk about your band, I think it’s remarkable. It’s getting more and more rare that folks tour with the folks who played on the record, because — and it’s not the fault of anybody — they’re trying to make money on the road. So if they stack their record, of course they aren’t bringing those people on tour. Why is it a priority for you to have the same band?
There are obviously all of these amazing musicians out there who are session musicians and a lot of people I’ve been fortunate enough to play with myself. I’ve learned a lot from [them]. This time around, this was always a goal of mine, to have a record that had a band I wanted on it. I worked really hard to find the band to really fit those pieces together. It took me a while… just trying to figure out really what I wanted. My last record, I’ve Got A Way, caused the right people to gravitate towards my music. I mean, I eventually found the band that I have now because they heard those earlier records and they were like, “I would love to be a part of this.”
The band I have now, which is Mike Khalil, Nate Felty, and Alec Newnam — and Brett Resnick played on the record, but he doesn’t get to play with us a lot anymore, he plays with Kacey Musgraves, which is wonderful. But with the band I have now I just knew it. I was like, “I think this is it.” We all knew it. Even Brett. People were like, “We think this is the right combination.”
In that way, too, there’s nothing wrong at all with using session players, I just think, honestly — and I might be a little biased — my band is just as good as any. I think they could, and they will be one day, they will be those session players. They care so much about their craft and they work hard. I’m very lucky.
One of the things that excites me most about this record is that I’ve always heard the bluegrass influences in your music, but they’re really forward in this record. Especially in your rhythm playing, in your rhetorical style in your writing, in your vocal phrasing, even in the arrangements with the twin fiddles and there are a couple of “fast waltzes” on the record. I love that “Lived and Let Go” really could be played on bluegrass radio.
I think that is such a huge compliment, thank you.
It’s bluegrass! I wanted to ask, and not just because we’re The Bluegrass Situation, but in general, because this is a huge part of the canon of music you reference and that you listen to. Who in the bluegrass sphere influences you now and who has in the past — and I’m gathering Ola Belle Reed is at least one of them.
I love Ola Belle, obviously, we did an Ola Belle song on the record. Well, I love that you can pick that out. To me, I feel like it’s plain as day that there’s a bluegrass influence all over it. To some people it’s not as apparent, I guess. I’ve had some people just be like, “What is this thing that you’re doing?” It’s because they don’t listen to bluegrass. I’m like, “I STOLE that!” [Laughs]
I guess I understand now why they don’t put those two together, if you’re talking about mainstream country, because that’s clearly not. But to me, I’m always like, “Of course bluegrass is country.” It’s also bluegrass, but it’s also country. It’s like the OG country music.
I would say one of my favorite influences, one of my favorite singers ever, is Dale Ann Bradley. She’s up there for me. I really think Dale Ann should be a legend, honestly. And Ralph Stanley, and obviously I love Bill [Monroe], and Jim & Jesse, and all those groups. And early Keith Whitley, I’ve been obsessed with that for a long time.
I think it’s interesting that you mention both Ralph and Keith back to back like that, because you can hear elements of both of their vocal phrasing and vocal techniques, in what you do singing-wise.
The same thing with Dale Ann. They have such unique registers of their voices and it’s something that I really relate to. Sometimes I didn’t really know what it was that I was doing. I could kind of hear my own voice in [their vocals]. If that makes sense? I could really relate to that. It’s so soulful.
I feel like Keith could sing on anything. [Laughs]He sounded exactly like Keith. That’s the beautiful thing about a country singer to me, he could sing on an R&B track and it would be sexy as hell. It’s like George Jones — and Dolly can sing on anything, as far as I’m concerned. That’s a great singer, to me. Ralph, I’ve always said that he is like the Pop Staples of mountain music. It’s like he doesn’t even have to be loud, but he is so loud. He’s barely singing. He’s just projecting. I love Flatt & Scruggs as well.
New artists… Molly Tuttle, I love what she’s doing. That new record. She’s really taking a genre and making it her own. Something that’s not worn out or tired. Doing something fresh. She has accomplished making this new for people. In my own way, I hope to do that as well.
I don’t guess there’s anybody else completely new, besides like Sister Sadie, and Dale Ann! [Laughs] They are some BAD girls!! Dale Ann, man. The mark of a true artist is that she can sing all of the covers she does. Like I said, I think Dale Ann should be a legend.
Words are clearly your priority in your songwriting. You’re prioritizing what you’re meaning to say first and foremost, then making the melody and music and everything work around what you’re trying to say. It sounds effortless when you listen to it, but I wonder what kind of intention goes into that?
Songwriting is kind of interesting to me in that way. I’ve actually heard a couple people be like, “It sounds effortless.” Sometimes, it is effortless and you’re just like, “Wow that kind of poured out of me. I didn’t realize it was in there but it poured out of me in like five to ten minutes.” With this record, though, there were definitely a couple of things I had to go back to. I had the meat and taters, but there were a couple of things I rewrote and made sure made exactly the sense I wanted them to make. There’s a balance there, too. You don’t want to kind of go too far, over-analyzing the whole thing.
With “Kentucky, 1988,” I think your songwriting up to this point has felt so personal, and so tightly intertwined with who you are, that I almost didn’t realize that you hadn’t written this exact kind of song, yet. What brought you to the point of wanting to be that direct with telling your origin story? Was it more intuitive or more purposeful?
That was definitely purposeful. That is awesome that you’ve observed that, because I’ve felt the exact same way. I was writing new songs and I felt like, “You know, I haven’t written my ‘Coal Miner’s Daughter.’” I don’t really have something that is kind of like this definitive origin story. I just set out to write it. The title was actually kind of inspired by someone I forgot to mention, Larry Sparks — one of my favorite singers.
Oh my gosh!! “Tennessee, 1949!!”
Yeah! Yeah, it was inspired by that. That and a Tom T. Hall song that has Kentucky and a year in the title, with the comma and everything. In my head all of that sounded so cool. Everything about it, the rhythmic feel, it all rolled right off my tongue great. I just had to write it. People always [say], “That’s very vulnerable and transparent.” Well yeah, isn’t that what we’re supposed to do? [Laughs]
I know a lot of artists say this, but I definitely think this is the most personal thing I’ve done so far. I think all of it has been very transparent, in a way. I want to completely embrace that. I want to be as much of a freak as I want to be. It’s not like I was afraid to before, I just don’t think that I was ready. My mom always said I was a late bloomer, but she said, “When you bloom, baby, you’ll bloom!”
I did want to ask you about the significance of the Chickasaw Nation members singing on the record. We hear them at the end of “White Noise, White Lines.” What’s the personal significance of that for you? And are you a tribal member? Is anybody in your family a tribal member?
No. All of the Rollins side of my family, which is my granny’s side, they were all of French and Native American descent, but I never claimed anything like that. I just think it’s been something that’s been such a part of where I grew up, culturally. Even just hunting for points [arrowheads] and having such a respect for that way of life and culture.
It’s always really hard to keep this story short, when people ask me about the song, because I wrote it right after this amazing experience I had back home in Monkey’s Eyebrow, Kentucky, my hometown. When I went back to watch a ceremonial dance that the Chickasaw from Ada, Oklahoma [performed]. They came to re-bless the Wickliffe Mounds. They ended up lodging at my Dad’s that night, for free, [he was] cooking the food, doing the catering and stuff. I ended up staying down there and visiting.
We just became friends with the members of the tribe. We had so much fun. They’ve kept in touch… My dad took them arrowhead hunting for the first time, and they were doing ceremonial dances out on my dad’s land as well. I think he really really was appreciative of that. We were kind of the only people who ever lived down there in those river bottoms, maybe besides [the Chickasaw]. I mean, it’s the river bottoms. That’s why we find all these artifacts. No one has been down there except us.
I just remember thinking about how awesome the weekend had been and the radio had been on white noise for literally fifteen minutes and I had no idea. I was just in this tranquil moment. The song is just a detail of all these things. The solar eclipse had also blown my mind that weekend. Just realizing how small we actually are, compared to what is even going on in this universe.
Naturally, I included the details. “Chickasaw man got a buffalo skin drum,” because Ace — Ace Greenwood and Jesse Lindsey, that’s who’s on the song — actually did have a buffalo skin drum. It was pretty badass. My dad asked them to sing some songs on the porch. I love Ace’s voice, it reminds me of Ralph Stanley. It’s a voice that just feels like it’s been there for a long time. It’s so pure. I just loved it, I was really touched.
He sang a song that had been in his family for generations. The message of the song was basically, “Though I’m far away I’m still near you. No matter where I am. We are together.” In that moment that really was something I needed to hear. I put that [on the record] not only because I thought it was beautiful, and I wanted people to experience what I felt, but I also wanted the record to feel like an experience.
Ace told me one time when we were down there that the media likes to tell his people who they are and that’s not who they are. I think in a way, perhaps it’s also why I thought it would be really beautiful to have that at the end as well. I hope it doesn’t seem like it was for my own reasons, I guess. I was just writing about that weekend and I felt like it was so beautiful to me I wanted it to be documented.
I think it makes a lot of sense. And I’m not saying it’s not a complicated thing to talk about, or that it doesn’t trip into some territory that we as settlers will never fully understand, but I do think that it follows perfectly with you bringing your whole entire self to your music. So much of what you do is tied to place and is tied to coming from Kentucky.
That was another part of it, showcasing where I’m from. And the cultural background of it.
And not just the colonial background of where you’re from?
No. I mean absolutely not. To me, that’s exactly how I saw it. Nail on the head. It might cause a little bit of question, but I think that’s good. ‘Cause then I’ll get asked about it. And then I’ll tell ‘em. [Laughs]
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