Tag: blues

The SteelDrivers Celebrate 20 Years, Usher in New Chapter With ‘Outrun’

Posted on by Justin Hiltner

With four lead vocalists, seven studio albums, one GRAMMY Award to their name, and countless fans won over, The SteelDrivers have been one of this century’s most consistent and trailblazing bluegrass bands. That longevity can be credited to three things – the strength of their catalog of all-original songs, their collective precision picking, and the family atmosphere the band has cultivated together since forming in 2005.

Despite not joining forces until then, banjoist Richard Bailey says he’s known bandmates Tammy Rogers (fiddle) and Brent Truitt (mandolin from 2012 to present) since they were teenagers. His first run in with Mike Fleming (bass) and Mike Henderson (mandolin 2007 to 2011) came not long after during a college ski trip, with the group remaining close ever since. In the early 2000s Bailey relocated to Nashville from Memphis and reconnected with Henderson, regularly joining him at the Station Inn during Sunday night bluegrass jams and setting the foundation for what would eventually become The SteelDrivers. Then one day Henderson rang him up and was glowing about a young kid he’d just started writing with named Chris Stapleton who was wanting to play a little bluegrass.

“We eventually got together at his house and nobody knew Chris except for Henderson,” Bailey tells BGS. “We rehearsed a few bluegrass standards and then Chris began singing and Tammy, Mike, and I all looked at each other and went, ‘damn!’ I remember asking if the song he sang was an old Stanley Brothers tune and he said that it was actually one that he wrote.”

By that point, Henderson and Stapleton had already been penning songs together for a few years, with one of their most notable co-writes to that point being “Higher Than The Wall” from Patty Loveless on 2003’s On Your Way Home – a full seven years before The SteelDrivers eventually cut it on 2010’s Reckless. With their songwriting prowess already well established, the band opted to lean all the way in, keeping to the pattern of only recording songs crafted by them. Early on that mostly consisted of songs from Stapleton and Henderson, but has extended to all of the band in the years that followed, with Rogers writing the entirety of 2020’s Bad For You and the band’s newest member, Matt Dame, contributing songs for the first time ever on the group’s latest effort, Outrun.

“Starting with our very first record we determined that we were only going to play original music and we’ve never wavered from that,” explains Rogers. “It’s always been when you come to see The SteelDrivers that you’re not going to hear an updated version of ‘Little Cabin Home On The Hill’ or a modern country song done bluegrass style. There’s nothing wrong with any of that, but the whole point of the band originally was two songwriters coming together – Chris Stapleton and Mike Henderson – and everything else grew around that.”

That persistence of sticking with original material doesn’t only extend to The SteelDrivers recorded catalog, though. As Rogers points out, you’ll also be hard-pressed to hear any covers during the band’s live show. Per Bailey, the only such instance came during their televised Grand Ole Opry debut in 2008 when Charlie Daniels joined them on stage for a sing along to Flatt & Scruggs’ “I’m Gonna Sleep With One Eye Open.”

However, the band has regularly employed and worked with writers outside the group to craft songs centered around what Fleming describes as “uneasy listening music where bad things happen to good people.” This includes the likes of the venerable Verlon Thompson (“Booze And Cigarettes”), George Strait, Martina McBride, and Pam Tillis collaborator Leslie Satcher (“Outrun,” “Bad For You”); and German-born Thomm Jutz (“I Choose You,” “Cut You Down”), with whom Rogers has written over 140 songs (and counting).

“We’re fortunate to have always had wonderful songwriters in the band no matter who the membership was,” clarifies Fleming. “As it’s morphed through different CDs and personnel the strength of the songwriting has never wavered. Our goal has always been to serve the song, no matter who is singing it.”

Regardless of who’s been writing – or singing the songs for that matter – the band’s impeccable storytelling and bluesy grit has never faltered, even when lineup changes shook the band to its core. The first of those came in 2010 when Stapleton left to begin pursuing his solo career – a move that has resulted in him becoming not just one of the most well known country singers, but one of the most renowned vocalists of any genre globally. Henderson followed a year later, with Gary Nichols and Truitt stepping in to fill each of their shoes, respectively.

“I would’ve loved it had Stapleton never left the band – I mean who doesn’t want to be in a band with Chris Stapleton?” Rogers continues, “But when he left we had to make the decision of do we keep going or do we stop, because it wasn’t going to continue the same way that it had before. It wasn’t even a choice to me, though – I wanted to keep playing. To me that was better than no SteelDrivers at all.”

With two of their founding members gone, the band set out to prove they could still create bluegrass bangers and it didn’t take long for their efforts to pay off. Five years into their new look lineup The SteelDrivers won their first GRAMMY Award, taking home the honor for Best Bluegrass Album with The Muscle Shoals Recordings at the Academy’s 58th annual gathering in 2015. According to Rogers, the GRAMMY completely changed the band’s trajectory and continues to have a positive impact over a decade later.

“There’s been a lot of discussion in recent years about the validity of the GRAMMYs, but for us the recognition from the Academy has been a game changer,” states Rogers. “There’s a huge difference between being GRAMMY-nominated and a GRAMMY winner. For us, we were suddenly validated and were able to play bigger shows and venues that wouldn’t have considered or booked us prior to winning.”

In addition to validating their decision to keep pushing on, the band’s success post-Stapleton has also proven that they excel at finding new vocalists with their own distinct styles and vibrant storytelling to fill the void. First it was the funky, bluesy, and soulful sensibilities of Nichols. After him came the rock ‘n’ roll energy and piercing holler of Kelvin Damrell – who Rogers described as “the highest pitched singer of anyone we’ve had in the band.” He’s the only Kentuckian other than Stapleton to ever be in the band and sang lead for over three years – including on 2020’s Bad For You – prior to stepping aside in the summer of 2021.

It was then that the band recruited Matt Dame, solidifying the lineup they still have today. While each of the four singers have their own sounds, Rogers says there’s also plenty of characteristics that tie each of their eras together. “We figured out early on that it’s not about finding someone who sounds like Chris, but finding someone with a soulful, gravely, raspy and bluesy quality and letting them put their own spin on things,” says Rogers. “Aside from looking for those attributes we’ve never asked anyone to sing a certain way. Even though they sound similar, within two seconds of listening to a song I can tell whether it’s Kelvin, Chris, Gary, or Matt singing. They’re all distinct in my mind.”

Arguably even more impressive than the band’s success and consistency in sound through its different chapters has been their knack for continuing to make cutting edge bluegrass music with singers not steeped in bluegrass history with voices that generally “don’t fit” the traditional blueprint. From Stapleton on, the band has gravitated toward gritty blues and southern rock more than anything else. They’re comfortable at the confluence of electric and acoustic sounds, with one foot firmly planted in the past and the other stirring up dust and turning heads as it propels string band music into a completely new dimension.

“Chris Stapleton was not a bluegrass singer,” insists Fleming. “He was more of a blues singer, but the arrangements were always with bluegrass instruments. As a result, our propensity was to go toward playing bluegrass, but we never shied away from a song we thought we might not be able to play. For instance, ‘Midnight Train To Memphis’ from our first album was a bluesy rock ‘n’ roll number that Richard Bailey messed around on with on banjo one day. We have these bluegrass instruments, but we’re not confined to exclusively playing that way as long as we’re serving the song.”

Much like they’ve always served the song, The SteelDrivers’ fans have served them well in return, sticking by their side and continuing to buy tickets and albums through the years as the group has weathered changes in their lineup and sound. It’s led to an unprecedented run of success that Rogers jokingly compared to another bluegrass great.

“It’s almost the Ralph Stanley model,” she jokes. “After Carter [Stanley] passed away he had Larry Sparks, Roy Lee Centers, and Keith Whitley join him. It was a great line of singers that followed, all of whom embodied that Carter Stanley sound. We’ve also had several incredible vocalists with their own styles come through the band that we’ve been able to have success with by honing in on a singular sound together.”

The latest person the band brought in to hone in on that sound, Matt Dame, is a longtime Nashville songwriter and session player who joined in 2021 after a referral by friend and esteemed writer Gary Baker (John Michael Montgomery, Alabama, Lonestar). A couple rehearsals followed and by the end of July he was out on the road playing his first shows with the group. Having worked behind the scenes in the music industry for nearly as long as The SteelDrivers had been around, the move to performing in front of large crowds night in and night out was a big adjustment for Dame, but one he quickly found himself falling in love with.

“You do anything for 15 or 20 years and it becomes your comfort zone,” admits Dame. “I really enjoyed the session world, but it’s a lot different. Now I get a realtime reaction to what I do – there’s no stopping to go live again because you were flat. What I’ve loved most from our shows is the crowd singing the songs back to us, which can really carry you along.”

“There’s never a spot where you lose the audience or feel the need to kick into ‘Wagon Wheel’ to get everyone singing again, because the body of original work is so strong. It stands tall on its own,” he continues. “That speaks more to the power of the song than of any one vocalist, which says a lot because the band has had some incredible singers through the years. I’m just hanging on and trying to put my own spin on things.

“We’re all different, but one way we’re all the same is we all can deliver the songs in our own way that’s very believable. It sounds like somebody’s really living what they’re singing, not just going through the motions.” Even having been on the outside looking in for so long, Dame says that it’s hard to ignore the formidable nature of The SteelDrivers’ songwriting catalog, one that he’s thrilled to finally be a part of on Outrun – the band’s first project on the famed Sun Records (and also the label’s first bluegrass album). The record is his second with the band following 2023’s gospel project, Tougher Than Nails, that saw him only singing and playing guitar. Now, on his second go-round, he integrates himself even further, helping to write the songs “On My Way,” “Emma Lee,” and “Rosanna.”

“It was a really cool feather in my hat to be able to write some songs for this album and getting to do it on Sun Records is like the icing on the cake,” he exclaims. “I’m a huge Elvis fan and growing up in Arkansas listened to Johnny Cash all the time, so my eyes lit up when I heard we’d be their first bluegrass album ever.”

In addition to featuring the co-writes from Dame, Outrun also sees the band paying tribute to Henderson, who died unexpectedly from a pulmonary embolism in September 2023 – mere weeks after the release of Tougher Than Nails – with cuts of his songs “Prisoner’s Tears” and “Painted And Poison.” Although he hadn’t played with The SteelDrivers since 2011, his loss shook the band, which Rogers calls him the architect of, along with the entire bluegrass and country worlds.

“We knew we wanted to honor him in some way, which is what kickstarted talks for this new record and led to our shortest cycle between records yet,” confides Rogers. “In addition to recording two of his songs on it we’re also planning to have a slideshow commemorating him and 20 years of the band on some of our tour dates later this year.”

It’s tough enough to survive as a band for two decades when everything is going right, so it speaks volumes for The SteelDrivers making it as long as they have with all the obstacles that have gotten in their way. At the same time, the group’s unrivaled level of talent – both on their respective instruments and with their insatiable songwriting – have more than cemented their place in the bluegrass and American roots music zeitgeist for generations to come. For Dame, it’s a legacy that’s equally intimidating and exciting to be a part of.

“Professionally I’ve grown, because I’m doing something that’s new to me, but also because I’m doing it surrounded by a band where everybody does their parts with excellence,” he reflects. “If you don’t carry your weight it’s really going to be noticeable, which has pushed me to be better with everything that I bring to the group.”

Photo Credit: Glenn Rose

Violinist and Singer-Songwriter Anne Harris “Brings Things Up a Level” with New Album

Posted on by Justin Hiltner

Anne Harris is having a moment. Though many people (this writer included) are just finding out about this Midwestern violin virtuoso this year, she has been making records since 2001. With her new album, I Feel It Once Again (released May 9), Harris decided, in her words, to “bring things up a level.”

Not only is the disc getting rave reviews, it marks the first-ever violin commission in America between two Black women – Harris and luthier Amanda Ewing. The 10 songs on I Feel It Once Again range from traditionals like “Snowden’s Jig” and the closer “Time Has Made A Change” to originals like “Can’t Find My Way” and the project’s title track. Throughout, Harris remains impressive in both her vocals and her violin playing. The album was produced by Colin Linden who has worked with Bob Dylan, Rhiannon Giddens, Bruce Cockburn, and many others.

Harris is currently based in Chicago, but was actually born in rural Ohio. She took to music at a very young age, inspired by her parents’ record collection. After attending the University of Michigan’s School of Music, Harris moved to Chicago, where she delved into the city’s theater and music scenes. Now, she is about to tour with Taj Mahal and Keb’ Mo’ this summer. BGS had the pleasure of catching up with Anne Harris for a conversation about the new album, her Amanda Ewing-built violin, her influences and inspirations, and more.

To start, tell me where and when I Feel It Once Again was recorded.

Anne Harris: I did the record in Nashville. Coming out of the pandemic, I had been writing and I felt like I had a collection of songs – a pool of things that I wanted to be on my next record. I wanted to work with a producer, [but] I wasn’t sure who to work with. All my prior records had just been basement records, basically. Nothing wrong with that, but I wanted to bring things up a level. A friend of mine, Amy Helm – who is an amazing singer-songwriter in her own right – recommended Colin Linden to me.

Colin is Canadian born and raised. Incredible multi-instrumentalist [and] producer that’s made Nashville his home for many years now. Anyone [Amy] recommends I’m gonna listen to. So I started listening to some of the records he made. I got in touch with Colin and sent him, in really rough form, a big basket of songs I was considering. He really loved them and wanted to work on the record. We got the basic core of the record laid down in about a week of intense recording in Nashville and finished up with a few things remotely after that.

Is it true that you first picked up the violin as a kid after watching Fiddler on the Roof?

Yeah! My Mom took my sister and I to see the movie version of Fiddler on the Roof when we were little; I was around three. I was born and raised in Yellow Springs, Ohio. I remember being at this movie theater in Dayton for a matinee. I remember the picture of the screen – you know, this opening scene where Isaac Stern is in silhouette on a rooftop playing the overture. And [my mother] said I stood up, pointed at the screen, and yelled – as loud as I could – “Mommy! That’s what I wanna do!” She was like, “Okay, you gotta sit down and be quiet.”

She thought [it was] maybe a passing thing and that I was caught up in the drama of the music. [But] I just kept bugging her about it. So she let me do a couple of early violin camp kind of things here and there. I just had this intensity about wanting to really study it. So when I turned eight, I started studying privately with a teacher. Suzuki and classical training was sort of my background.

Tell me about the title track, which is also right in the middle of the album. What inspired “I Feel It Once Again?”

A couple of years ago, [my] friend Dave Hererro – who is a Chicago based blues guitar player. Sometimes he’ll come up with a little riff and send it my way and say, “What do you think of this?” He sent me this guitar riff, which is kind of the through line of that song. I heard it and immediately the whole song and story unfolded in my head. I wrote [it] around that guitar riff in, like, one session. I did a demo and I played it for Dave. I’m like, “Dude! I love this so much.” He’s like, “Well, do whatever you want with it!”

Writing is an interesting thing. I’m not super prolific. I’m not one of those people that’s like, “I journal every day for 13 hours!” [Laughs] You know? [I don’t] have a discipline or method other than trying to stay open to inspiration and committing to it when it happens.

[That] was the case with that song. I had the story and a picture in my mind of what that song about. Somebody musing over a loss. You know, it’s twilight and they’re finishing a bottle of wine and mourning the loss of this great love. One part of you is fine when it’s daytime and you can put on a face and you’re going about your business. But then when the curtain comes down, behind that curtain is this loss and this mourning. That’s what that song is about.

Everything looks different at 4am, doesn’t it? [Laughs]

I [also] wanted to ask you about “Snowden’s Jig.” That’s a type of music I know virtually nothing about. I know it’s a traditional.

Yes. “Snowden’s Jig” is a tune that I learned from the Carolina Chocolate Drops record Genuine Negro Jig. It was my gateway into the Carolina Chocolate Drops. I was doing errands somewhere and I had NPR on and [they] were a feature story. And it was just this mind-blowing thing.

Joe Thompson [has] been deceased for a while now. But he was one of the last living fiddlers in the Black string band tradition. They would go to his porch, learn tunes from him, and learn the history of Black string band tradition. That’s sort of how they started their group. [“Snowden’s Jig”] was on that record and they learned it from Joe.

Part of my mission as an artist is to be a bridge of accessibility through my instrument, the violin, to the Black fiddle tradition. There was a time during slavery days when the fiddle and banjo were the predominant instruments among Black players. Guitars were sort of a rarity. That was when string band music was really at its height. North New Orleans was the sort of center of Black fiddle playing. Often time, enslavers would send their enslaved people down to New Orleans to learn how to play fiddle and then come back to the plantation to entertain for white parties and balls.

You’re based in Chicago. It’s a big music city. How has living in Chicago informed your music?

Chicago is known as a workingman’s city, a working class city. There’s something very grounded about Chicago in general and that’s the reputation it has. I’m a Midwestern person [anyway], from Ohio originally. There’s something about us in the Midwest. You know, we’ll never be as cool as New York or LA! But we work our asses off. I feel that translates into the artists in this town. It’s really a place where it’s about the work.

This album apparently marks the first violin commission between two Black women. Yourself and Amanda Ewing?

Correct. Amanda Ewing. It’s the very first professional violin commission that’s been recognized in an official capacity. Amanda has a certificate from the governor of Tennessee – she’s a Nashville resident – citing her as the first Black woman violin luthier in the country.

When I first saw Amanda, it was online. The algorithm basically brought her to my phone. I saw a picture of this beautiful Black woman in a work coat, holding the violin and I about lost my mind. I was so blown away and inspired. I read her story and got in touch with her and told her, “I have to have you make a violin for me. I have to own a violin that was made by the hands of somebody that looks like me.” It never occurred to me, in all my years of playing, what the hands of the maker of my instrument might look like. That’s not an uncommon thing, but it’s sort of sad! It would never occur to me that a Black woman would be an option.

So as soon as I met her, we embarked on a commission that was funded by GoFundMe. She decided she wanted to make two [violins] so that I would have a choice. They were completed in February, a couple of months ago. [One violin] will make its official debut for a public audience on the 23rd of May. I’m gonna be playing at the Grand Ole Opry with Taj Mahal and Keb’ Mo’. I’m going on tour with them.

It’s funny, I was gonna ask you next about that tour! I noticed you had some upcoming tour dates with Taj and Keb’. I wanted to ask your thoughts on that and maybe what people can look forward to on this tour.

A friend of mine is Taj Mahal’s manager and she’s also good friends with Keb’. She said that Kevin [Keb’] had approached her looking for a violinist player for this upcoming tour. They have a new record out as TajMo called Room On The Porch. It’s their second under that moniker and it’s an amazing collaboration. Two iconic figures making beautiful music together. So she recommended me and [Keb’] had seen me before – I think when I was touring with Otis Taylor years ago. He called me and you know I’ll keep that voicemail forever!

As far as what to look forward to, it’s gonna be amazing. The opportunity to work with luminaries… I’m gonna be the biggest sponge, soaking up all of the knowledge from these giants. Taj has been influential to just about everyone on some level. He’s one of those people who’s worked with everybody and done so much. I’m just over the moon.

Photo Credit: Roman Sobus

You Gotta Hear This: New Music From EZRA, Lonesome River Band, and More

Posted on by Justin Hiltner

Okay, we say it every week, but really– You Gotta Hear This! Our weekly premiere and new music roundup includes bluegrass, the blues, Americana, indie, bebop influences, and so much more.

LA’s American Mile kick us off with a music video for “Waiting on a Sunday,” which is equal parts roots rock and alt country – into Tom Petty vibes? This one’s for you! The song was inspired by a mundane gas station encounter on a silent pandemic Sunday. Singer-songwriter Meir Levine also launches “I Wish It Was Over,” an indie rock-tinged Americana track with poppy textures that considers closure, moving on, and looking ahead.

Unfortunately, two of our string bands below have the blues this week! EZRA, a talented new acoustic quartet with bluegrass roots and a stacked roster of pickers, bring us a performance video for “Basically a Blues,” where they turn a typical 12-bar blues progression inside out and upside down with acrobatic, virtuosic picking. Plus, Lonesome River Band’s new single, “Blues,” is an Adam Wright-written song featuring Rod Riley on Telecaster. That track is from their upcoming project, Telegrass, and we’re receiving the message loud and clear.

Singer-songwriter Mac Cornish covers Danny O’Keefe’s “The Road” with a deliciously retro, twangy ’70s sound that’s appropriately melancholic and full of life, too. Elsewhere in our roundup, you’ll hear Julia Sanders, who’s also inhabiting grief, sadness, and nostalgia in a video for her new single, “Star Stickers,” during which her listeners will certainly be able to picture glow-in-the-dark decorations stuck haphazardly to their childhood ceilings.

Make sure to scroll all the way to the bottom, though, as you won’t want to miss “Foxology” from Tokyo’s Thompson the Fox, an exciting newgrass quartet with an uncommon lineup: banjo, bass, drums, and xylophone. It’s fantastic music, bebop and jazz influences leading to sonic surprises around every twist and turn of the original melody. When this one arrived in our inboxes, we were immediately charmed and entranced. You will be, too.

It’s all right here on BGS and, simply– You Gotta Hear This!

American Mile, “Waiting on a Sunday”

Artist: American Mile
Hometown: Los Angeles, California
Song: “Waiting on a Sunday”
Album: American Dream
Release Date: May 2, 2025 (single); June 6, 2025 (album)

In Their Words: “When I was writing ‘Waiting on a Sunday,’ I was on a couch in Vermont. It was silent and my thoughts were the only thing around. It was 2020, in the middle of the pandemic, and I walked to the gas station up the street, ’cause nothing was coming to me in that silence. There was a lady at the gas pump trying to wrestle her kids into the car and pump gas at the same time. I thought I recognized her from high school, so I helped her pump her gas while she dealt with her kids. She told me a little bit about her life and the struggles of being a single mom; she was heading to church that morning. It all kind of flooded into my mind at that point and I wrote most of the lyrics that day. I thought to myself, ‘We’re all in a way waiting for a Sunday,’ whatever that means to us.” – Eugene Rice

Mac Cornish, “The Road”

Artist: Mac Cornish
Hometown: Nashville, Tennessee
Song: “The Road”
Release Date: May 1, 2025

In Their Words: “‘The Road’ by Danny O’Keefe has been one of my favorite songs for years, because of Danny’s melancholic but beautiful lyrics about life on the road. Danny’s writing in general has always been important to me, but as time has passed and I’ve toured more, this song keeps resonating with me more. I started covering it with my backing band about a year ago and it quickly became a staple in our set and a favorite of our audiences. This past December we went into the studio and recorded the whole thing to tape, really trying to emulate the early ’70s sounds of this song, but also give our own spin on it. Our two acoustic guitars lay as the foundation for our version of the song. The bass and drums drive the song forward, but never distract from the delicate Travis picking. The pedal steel weeps through the whole song, emphasizing certain lyrics and complementing the vocal melody. I’m proud of my take on this ’70s classic and am excited to add my name to the list of artists who have covered this song.” – Mac Cornish

Track Credits:
Mac Cornish – Acoustic guitar, vocals
Bailey Warren – Acoustic guitar, backing vocals
Trevor Stellflug – Pedal steel
Jacob Miller – Bass
Hunter Maxson – Drums

EZRA, “Basically a Blues”

Artist: EZRA
Hometown: Oberlin, Ohio
Song: “Basically a Blues”
Album: Froggy’s Demise
Release Date: May 9, 2025
Label: Adhyâropa Records

In Their Words: “‘Basically a Blues’ takes the standard chords used in a 12-bar blues and flips them upside down. All the well-known bluesy harmonies become diminished when doing this, and I found the sound to be fairly intriguing. I especially love the solos and trades that Max [Allard] and Jake [Jolliff] take over this quirky tune and have to give major kudos to Craig [Butterfield] who burns constant 8th notes for the duration.” – Jesse Jones, guitar

Track Credits:
Jacob Jolliff – Mandolin
Max Allard – Banjo
Jesse Jones – Guitar, composer
Craig Butterfield – Double bass

Meir Levine, “I Wish It Was Over”

Artist: Meir Levine
Hometown: Upstate & Brooklyn, New York
Song: “I Wish It Was Over”
Album: Long & Lonely Highway
Release Date: June 6, 2025
Label: First City Artists

In Their Words: “‘I Wish It Was Over’ came in one of those exceedingly rare moments, where I woke up one morning and the song was already fully formed in my head. The song covers a pretty simple message I think, about the things that we can’t seem to let go of, that we seek out just to feel something – even if it’s bad or harmful to us.” – Meir Levine

Track Credits:
Meir Levine – Songwriter, vocals, guitars
Andrew Freedman – Producer, piano, keyboards
Will Graefe – Electric guitars, acoustic guitars
Jeremy McDonald – Bass
Mike Robinson – Pedal steel, guitars
Jordan Rose – Drums

Lonesome River Band, “Blues”

Artist: Lonesome River Band
Hometown: Floyd, Virginia
Song: “Blues”
Release Date: May 2, 2025
Label: Mountain Home Music Company

In Their Words: “We’ve all had the ‘Blues’ in our lives, but this Adam Wright song sees the ‘Blues’ in a whole different light. It’s a lighthearted break from the sad songs – one that we have a ton of fun with. Featuring our good friend Rod Riley on the Telecaster, it comes from our upcoming Telegrass project.” – Sammy Shelor

Track Credits:
Sammy Shelor – Banjo, harmony vocal
Jesse Smathers – Acoustic guitar, harmony vocal
Mike Hartgrove – Fiddle
Adam Miller – Mandolin, lead vocal
Kameron Keller – Upright bass
Rod Riley – Electric guitar

Julia Sanders, “Star Stickers”

Artist: Julia Sanders
Hometown: Asheville, North Carolina
Song: “Star Stickers”
Album: Dark Matter
Release Date: May 16, 2025

In Their Words: “Usually my songwriting process is the same. I start with a melody and then lyrics start to unfold as the idea of the song becomes more distilled. With this one, the chorus came lyrics, melody, and all, as I was laying in bed getting my daughter to sleep one night. I had been asking myself, ‘What am I avoiding writing about?’ and maybe more than any other theme, was my challenging and painful relationship with my own mother. My mother struggled with mental health her whole life and in her own pain, she hurt those around her. Just before I started working on this album, she was diagnosed with ALS. Her physical decline was very quick and heartbreaking. The grief was heavy, complicated, and messy. Lying in my daughter’s bed that night, watching the yellow-green glow of star stickers on the ceiling, I felt like I was time-traveling – to my own childhood bedroom, needing my mother to be different than she could be, then back to this room, trying hard to be a different kind of mother for my own children, and then to the future, where nothing is known except that none of this lasts.” – Julia Sanders

Track Credits:
Julia Sanders – Vocals, songwriter
John James Tourville – Guitar
Steve Earnest – Baritone guitar
Landon George – Bass
Bryce Alberghini – Drums

Video Credit: Ashlyn McKibben

Thompson the Fox, “Foxology”

Artist: Thompson the Fox
Hometown: Tokyo, Japan
Song: “Foxology”
Album: The Fox In Tiger’s Clothing, vol. 1: FOX
Release Date: May 3, 2025
Label: Prefab Records

In Their Words: “We’re a Tokyo-based instrumental quartet with a unique lineup – xylophone, banjo, bass, and drums. Each member comes from a different musical background: Rie Koyama (xylophone) from classical music, Tomohito Yoshijima (drums) from jazz, and Akihide Teshima (bass) and I (banjo) from bluegrass.

“Writing tunes for such an unconventional instrumentation always feels like an experiment. I’ve long had the idea that the rapid melodic lines and complex syncopation of bebop would suit the xylophone and banjo. So I wrote this tune with strong influences from Charlie Parker – which is why I named it ‘Foxology.’

“It was a lot of fun coming up with the A section melody that can be played in melodic style on the banjo, so is the B section featuring a double-stop chromatic scale played on the xylophone with four mallets. We hope you enjoy our new album!” – Takumi Kodera, banjo

Track Credits:
Rie Koyama – Xylophone
Takumi Kodera – Banjo, composer
Akihide Teshima – Bass
Tomohito Yoshijima – Drums

Photo Credit: EZRA by Tanya Rosen-Jones; Lonesome River Band by Sandlin Gaither.

Valerie June is Weaving Spells Again

Posted on by Justin Hiltner

Valerie June’s new album – Owls, Omens, and Oracles (released on April 11 by Concord Records) – begins with a snare and a hi-hat. A simple, straight-forward rhythm. Something to wrest you from your chair and get you moving your body.

After a few bars, her distinct, earnest, energetic vocals enter and it feels as though you’re surrounded by a circle of Valerie Junes singing in delightful unison. Urging you on. It’s just her voice and the drum for thirty-five seconds, then she lands on the word “joy” and the whole song bursts open with a distorted guitar and so many cymbals.

Like the “Joy, Joy” for which the song is titled, sound layers build and build, rippling out further and further until it all fades. By then, you’re well into the room. The colors are swirling. There seems to be joy and love hanging from the chandeliers. If you close your eyes, perhaps you can imagine the colors bursting forth from the guitar when it finally takes a solo.

Indeed, whether or not you experience synesthesia – a condition some musicians report where they associate sound and color – there is something undeniably colorful about the music June puts into the world. This is as true as ever on the new disc, which feels even more focused on joy’s pursuit and on holding joy aloft once it is within one’s grasp.

The celebrated poet and activist adrienne maree brown, who wrote June’s promotional bio for the project, notes: “This album is a radical statement to break with the skepticism, surveillance, and doom scrolling – let yourself celebrate your aliveness. Connect, weep, change, open.”

Indeed, connecting and weeping – through joy and heartache alike – is central to June’s artistic journey. This notion, that her music might be urging its listeners to celebrate aliveness, is particularly resonant on Owls. After all, June, who divides her time between Tennessee and New York, is a certified yoga teacher and mindfulness meditation instructor. One might extrapolate, then, that music, for Valerie June, is equal parts connective tissue and spiritual experience.

“No one who makes music can truly tell you where it comes from,” she said on a recent Zoom call. “We don’t know where we’re getting it from. It’s coming from someplace and I like to think that place is magical.”

Similarly, she adds, “Spirit is something that we don’t really know. We can’t really – exactly – put our finger on where it’s coming from. We just feel it. … I think that it’s a very spiritual thing to make music. It’s not necessarily religious, but it is definitely spiritual. It will connect you to a deeper part of yourself, but it will also connect you to deeper parts of other people – and to nature.”

Across her six albums in nearly twenty years, June has sung about nature plenty. The night sky, the creatures of the forest. From her rendition of a classic, “The Crawdad Song,” (2006’s The Way of the Weeping Willow) to the eagle and rooster in “You Can’t Be Told” (2013’s Pushin’ Against a Stone), to the “still waters” and “dormant seas” of “Stardust Scattering” (2021’s The Moon and the Stars: Prescriptions for Dreamers), June has turned to nature for solace, clarity, and metaphor.

Lately, though, she has been somewhat haunted by owls.

“In Tennessee,” she explains, “we have a pond behind the house and there’s a lot of wildlife. There’s muskrats and frogs and snakes and fish and all kinds [of animals]. We just went and bought like ten carp fish to go in the pond to help keep the algae down and stuff. But one morning, I was walking into the kitchen. I start my day with black tea and there’s mist on the pond in the morning, and so everything’s kind of like foggy. I’m making my tea. It’s like five o’clock in the morning and my eyes are all puffy. … There’s a window where you can see right across the pond and see this mist and everything, and there is an owl on this post of the fence on the far side. It’s just looking in at me, and I’m looking out at it.”

She and this same owl had a few more encounters after that initial one and June started thinking there was something to it. Whether it was a spirit visiting her on purpose, or just a magical coincidence that she and this creature were in the same place at the same time on a planet so full of people and creatures, there was something to this brief, recurring coexistence.

While June admits she never sits down on purpose to write a song – she opens to them and they come – the owl started to worm its way into her periphery while she was writing. She started reading everything she could find about owls, learning about their habits and idiosyncrasies. She felt like she was harnessing some owl energy as she captured the melodies that would make up this album.

“You can listen to the old blues songs,” she explains, “and you will hear about the black snake, or about the mojo, or different things like that. There’s magic in the music, if you ask me. I … enjoy being a root worker and understanding that music can shift moods. It has that power. It can start movements. It can energize people or make them feel so tender that they’re able to cry when they need to.

“I definitely feel like I work with those energies. I don’t just sing, you know. Because, I mean, there’s a lot of singers who have more beautiful-sounding voices than me. I’m weaving spells.”

Indeed, June’s spells weave their way through Owls.

One moment, she’s turning off the news to remember we’re all indelibly connected “like branches of an endless tree” (“Endless Tree”). Then, she’s breathing through doubt with “Trust the Path,” a quiet, echoic piano song that sounds like it blew in on a breeze. There’s the spoken word piece, “Superpower,” with its meditative background and dreamlike soundscape built atop her voice and producer M. Ward’s guitar, among other things. Suddenly June is clawhammering a banjo and singing about misguided love (“My Life Is a Country Song”). And finally, there’s the folky earworm song “Love and Let Go,” with its horns and piano and layered unison vocals.

The album starts with joy and ends with acceptance – which is part of joy. Though it weaves through different styles and soundscapes, there is this throughline of keeping to the path, trusting the light, sourcing the joy.

Most of this is due to June’s songwriting and performance, of course. But at least some of it can be credited to her producer Ward – the chameleon-like guitarist and singer-songwriter who has produced for and collaborated with a who’s who of indie artists. As for her experience with this particular collaboration, June doesn’t hold back when lavishing Ward with praise.

“It was kind of the most amazing experience I’ve had in making records,” she says.

“He can play anything. He’s on the vibraphones. He’s on the keys. He’s on the guitar. I mean. … [For him,] whatever genre a song wants to be is what a song is and at the end of the day I enjoy rocking out. I like turning up my electric guitar and my amp and just going crazy with this kind of like a dirty blues-rock sound. And him – he got the best tones and sounds in his guitar playing.”

The pair first decided to make a record together when they crossed paths at Newport Folk Festival. June noticed that they were on the schedule for the same day, so she texted Ward and he invited her up to sing with him.

“When I got offstage, after watching him play that blues-rock like just a genius, [my] jaw [was] on the floor. Like, that was amazing. It was just him solo, too, with like three or four different guitars up there. So I said, ‘Well, when are we gonna make this record we’ve been talking about making?’”

Two months later, they crossed paths again, this time at San Francisco’s Hardly Strictly Bluegrass Festival. “We were on the same day again, so auspicious,” she remembers. “And so we worked together there. He said, ‘Okay, we have to make this happen now. We’ve seen each other two times in one year.’”

Before another year passed, they were in the studio, running with the genre-defiant sounds that were pouring out of June’s magic mind.

The phrase June used to employ for describing her music was “organic moonshine roots” – a description she’s stopped using since her friend who coined it passed away. Meanwhile, her life has taken on its own metamorphoses. She has found and lost love, has branched out in new directions, has pulled in guitar, ukulele, and banjo. She has made music with artists as variant as the Avett Brothers and Blind Boys of Alabama (the latter appear in the background on Owls). When not on the road, she hosts meditation retreats and teaches mindfulness at places like the Kripalu Center for Yoga and Health in the Berkshires. She writes poetry and has published a picture book for children.

Naturally, all of this has fed her appetite for melody and it’s all added to the tapestry of sound that defines her music. There is country in there, for sure. Also some semblance of jazz, R&B, pop, and just plain individualistic, raw grit. This time around, on Owls, Omens, and Oracles, genre seems like a silly thing to even try to pin down.

During a SXSW interview in 2023, writer Wajahat Ali asked June about the ineffability of her style and she didn’t hesitate. “It’s Valerie June music,” she told him. “I’m a singer-songwriter and whatever comes out, comes out. Sometimes it is honey, sometimes it’s vinegar.”

Sometimes it’s black tea and mist on a pond, crickets chirping and muskrats scattering, an owl standing still on a post, blinking its eyes as you stand there blinking yours. It’s a reminder of what truly matters.

To June, what matters is everything.

“Are you ready to see a world where we can all be free?” she asks. “I’m ready to see a world where we can learn to disagree with each other and still live together peacefully.”

“We’re ready to see this world be a place of togetherness,” she adds later. Learning to cooperate, she says, is “not just important for humans. It’s important for all of nature. … Nature will be okay, of course, without us. But it would be nice if we could figure out ways to move toward a more cooperative existence with all [things] in nature.”

Photo Credit: Travys Owen

Photos & Memories: Remembering Roots Music Troubadour-Poet, Michael Hurley

Posted on by Justin Hiltner

(Editor’s Note: Thanks to our friends at Big Ears Festival, held at the end of March in Knoxville, Tennessee, we’re able to share these photos of revered folk icon Michael Hurley taken during what the world would later realize were two of his final performances, captured shortly before he passed on April 1, 2025. 

To honor Hurley’s incredible legacy and his indelible impact on roots music, we’ve paired the photographs from Big Ears with a heartfelt remembrance by longtime Hurley acolyte and BGS contributor Dana Yewbank.

Our hearts go out to Michael Hurley’s friends, family, loved ones, and collaborators as we all grieve this humble-yet-towering figure in our corner of the music world; our gratitude goes out to Big Ears for sharing these intimate and lovely time capsule photographs.)

I first encountered Michael Hurley – the influential singer-songwriter who recently passed at the age of 83 – in a room painted like a 1960s rendering of a time machine. Big black-and-white spirals looped around the floor of the stage, awash in a moody, pink glow.

The show was at the Woodland Theater in Seattle, Washington, in 2018. I was there with friends – a ragtag group of fellow musicians who’d all been inspired by Hurley’s music in one way or another. My friend Bobby wore a shirt from Oakland’s Burger Boogaloo festival, which rings like the name of a Michael Hurley song that never was.

Michael Hurley performs for his official Big Ears appearance to a packed house at the Point in Knoxville, TN. Photo by Andy Feliu.

We got there early. In a performance space the size of a small café, Hurley was sitting in the corner next to the stage, quietly playing a worn piano. My friends and I exchanged looks of mild wonder, realizing we had walked in on something unexpectedly intimate. Quietly finding seats among the folding chairs, we soaked in the scene as the room filled up. Throughout the night, we interacted with Hurley in passing as if we were all just milling about someone’s living room. He attentively watched all the opening sets. Bobby showed him where the bathroom was. Hurley never acted like a living Americana legend, even though he was one.

Raised in Bucks County, Pennsylvania, and an eventual cultural fixture of Astoria, Oregon, Michael Hurley wrote and recorded surreal, folk-esque blues and Americana songs across seven decades. He also made comics, self-published several art zines, and made an unspeakable impression on the broad world of American folk music. He continued to perform up until his death, which came suddenly the day after his final performance. Michael Hurley spent his last evening on earth playing his timeless, effervescent songs at the AyurPrana Listening Room in Asheville, North Carolina.

Michael Hurley also wowed a small audience at a surprise Big Ears performance at Boyd’s Jig & Reel, a small Celtic pub. Photo by Joeleen Hubbard.

My doorway into the world of Michael Hurley was First Songs, a lo-fi collection of recordings published by Folkways in 1963. The songs on that album have a subtle, somber quality that’s harder to find on Hurley’s later, more jovial records. Listening, it feels like taking a long, slow walk through a deep forest at dusk. Less sunshine and laughter than Have Moicy! or Long Journey, but as a sad, confused 20-something, the mist and mystery of First Songs drew me in. “Animal Song” will always be the sound of being 24, reluctantly living back in my small Northwestern hometown, not far from the place Hurley would eventually call home.

But melancholia is far from what Michael Hurley became known for. Instead, his music is beloved for its surrealism, lightheartedness, and humor. Hurley sang about aliens, ghosts, werewolves, and potatoes. His songs abound with clever turns of phrase and humble imperfection, offering a sort of unselfconscious freedom to listener and musician alike.

That night at the show in Seattle, a 76-year-old Hurley played for an impressive two-and-a-half hours, never seeming to lose steam. He must have played through at least 50 songs by the end of the night, which doesn’t even touch the several hundred he wrote and recorded throughout his life.

The magical Michael Hurley, mid-surprise appearance at Boyd’s Jig & Reel. Photo by Joeleen Hubbard.

Despite being called the “godfather of freak folk,” Michael Hurley never fancied himself a folk musician. Most of his influences fit squarely in the world of jazz and blues: Lead Belly, Lightning Hopkins, Fats Waller. He even cited country songwriters like Hank Williams, but rarely any notable folk artists. His eclectic influences make sense: Hurley’s songs have an unpredictable liveliness to them. They jump and wander, following a path seemingly guided by Hurley’s creative intuition alone.

But when it came to how he approached his life and career, Hurley lived fully into the folk tradition. He made his own album art, released some of his own records, and toured with zero frills. He also had a salt-of-the-earth political ethos and didn’t shy away from using music as activism. In 2014, Hurley assembled a compilation of “anti-Monsanto songs” and released them for free on Bandcamp.

Michael Hurley performs at the Point at Big Ears Festival. Photo by Andy Feliu.

Hurley (or Elwood Snock, as he liked being called) was a musician of the people, only ever taking himself just seriously enough, unafraid of welcoming play and spontaneity into his work. His legacy has a lot to teach us about just how essential these qualities are to the creative process — because if making art isn’t a form of play, then what is it?

That unbridled, unbothered element makes Hurley’s music deeply comforting and grounding. It roils and pops like a low fire you can warm yourself by. It’s trustworthy and safe, emerging from the endless present moment, bubbling up like a fountain from which we can all drink.

Michael Hurley by Andy Feliu.

Honey, honey, honey,
have you ever blowed bubbles
underwater when you’re feeling bad?
You let your lips begin a-buzzin’
the bubbles rush up like mad.
Right there you’ve got somethin’
to help you out
when you ain’t got nothin’
to brag about.

– from “Driving Wheel,” Sweet Moicy! (1976)

Hurley frequently collaborated with other artists – from his Unholy Modal Rounders to Marisa Anderson and Kassi Valazza – and he continued to make new connections well into his final years. Adrianne Lenker, who counted Hurley as a friend, recently credited him as one of the reasons Big Thief became a band, in a post memorializing Hurley on Instagram.

Michael Hurley’s red Harmony Roy Smeck guitar. Photo by Joeleen Hubbard.

Infinite rivulets flow out from Snock’s work, watering seeds of creativity wherever they go, rippling and rolling over the landscape much like Hurley did – from Jersey City to Vermont to Astoria.

Michael Hurley passed on April Fool’s Day, which is painfully fitting. He loved a good joke, taking things that might otherwise feel heavy and heartbreaking and peppering them with levity and brightness. Now, in his absence, we can let his songs buoy us through dark times, of which there are too many, and laugh alongside us in the light.

All photos courtesy of Big Ears, shot by Joeleen Hubbard and Andy Feliu as credited. Lead Image: Andy Feliu. 

MIXTAPE: Will Holshouser on the Accordion in Country, Bluegrass, and Roots Music

Posted on by Justin Hiltner

The accordion is like a cousin you don’t see very often, but who is an integral, colorful member of the family. In country, folk, bluegrass and related roots music from the U.S., the accordion has always been there, more of a presence than you might think. It’s central to styles such as zydeco, Cajun, and conjunto music, but also many foundational bluegrass and country artists – such as Bill Monroe and the Carter Family – used accordion in their music at times. The accordion was in the environment, part of the sound world of mid-20th-century popular music, adding a special touch to bands of all kinds. Although it did not continue to flourish as a central bluegrass or country instrument, there’s no musical reason for that absence: it fits right into the sound. Whether playing rhythm or lead, it can be versatile, punchy, and expressive.

If country music is our unifying theme here, the accordion makes a great lens for viewing the vast diversity of the genre and its extensive family tree: Tejano-conjunto accordion playing, with its polka and Spanish origins and its two-beat and waltz rhythms, is a natural fit with country; zydeco and Cajun music overlap with it seamlessly; Western Swing bands, which merged jazz and country, often included accordionists from the Midwest with Central or Eastern European backgrounds. Of course, the impact of African American blues, swing, and jazz is so strong in all these styles that it’s more than just an “influence” – really a foundation. Jewish klezmer music is also a branch of the “roots music” tree; it came from Europe and developed in the U.S., absorbing many of the same influences as the other genres while making great use of the accordion. – Will Holshouser

“Together Again” – Steve Jordan

The incredible Esteban “Steve” Jordan grew up playing conjunto music in Texas and expanded his repertoire to include country, Latin music, rock, zydeco and more. He was known as “El Parche” for the patch he wore over his blind eye and also as the “Jimi Hendrix of the accordion,” since he played through an effects pedal (flanger or phaser). On his version of this Buck Owens tune, he plays many roles brilliantly: lead vocals, accordion solo, fills and accompaniment.

“J’ai Eté-Z-Au Bal” – Steve Riley & the Mamou Playboys

Steve Riley is one of the finest Cajun accordionists working today; this blistering version of a classic Cajun tune (“I Went to the Dance”) shows his virtuosity, the Cajun (diatonic) accordion in a lead role, and his band’s deep groove.

“Tennessee Waltz” – Pee Wee King & His Golden West Cowboys

Pee Wee King was born Julius Frank Anthony Kuczynski to a Polish-American family in Wisconsin. He learned accordion from his father, who played in a polka band, and went on to become a famous Western Swing bandleader and write the music for this country classic. His beautiful, single-reed accordion fills and moving thirds sound totally country, while revealing a Slavic touch.

“Blues de Basile” – Amédé Ardoin

Amédé Ardoin made some of the very first accordion records in Louisiana and is a common musical ancestor of all zydeco and Cajun accordion playing. His innovative, rhythmic, virtuosic accordion style and haunting vocals won him a great reputation both inside and outside his Afro-Creole community. He often played dances and made records with his close musical partner, Cajun fiddler Dennis McGee, including “Blues de Basile” in 1930. His life ended tragically when he was beaten by white vigilantes.

“Hard to Love Someone” – Clifton Chenier

Known as the King of the Bayous, Chenier brought together southwestern Louisiana zydeco rhythms and Delta blues. On this slow blues tune recorded in 1970, his fluid improvising and support of his own singing is nothing short of glorious. His brother Cleveland Chenier plays the rubboard.

“Bluegrass Special” – Bill Monroe (with Sally Ann Forrester)

Most people know that Bill Monroe defined the classic bluegrass sound. Some may not know that an early version of his band, The Blue Grass Boys, included a Blue Grass Girl, Wilene “Sally Ann” Forrester, on accordion. Her solid rhythm playing and all-too-short accordion break add warmth to this early instrumental, a 12-bar blues. If things had worked out just a little differently, maybe every bluegrass band today would include an accordion! (Hey, it’s not too late, folks.)

“Root, Hog or Die” – Mother Maybelle & The Carter Sisters (with Helen Carter)

Later in her life, Mother Maybelle Carter of the iconic Carter Family had a long performing career with her daughters. The group featured Helen Carter playing great accordion and often Chet Atkins on guitar. Here, too, the influence of swing and blues is readily apparent. “Root, hog, or die” is an old expression that means “you’re on your own.”

“Alon Kouri Laba” – Corey Ledet Zydeco

Corey Ledet, one of today’s most exciting zydeco accordionists, plays beautifully and sings in Louisiana Creole on this high-energy tune from his album Médikamen (2023).

“American Without Tears” – Elvis Costello (with Jo-El Sonnier)

Accordionist Jo-El Sonnier brings his sensitive touch and gorgeous Cajun waltz style to this song from Elvis Costello’s album King of America. (Rock producers and engineers, please take note: this is where an accordion should be in the mix – loud enough that it can breathe dynamically and find its place among the other instruments.)

“Shouting Song” – Will Holshouser

Here’s a tune from my new album, The Lone Wild Bird. I wrote “Shouting Song” with the sound of shape note singing in mind. This is a choral tradition in the rural U.S., mostly in the South, with a unique sound: shape note composers ignored (or just didn’t know about) many European harmonic rules which disallowed features like parallel fifths and chords with only two notes. Along with influences from various folk traditions and camp meeting spirituals, that stark approach to harmony gives the style its sound, which I use here as a point of departure.

“Un Mojado Sin Licensia” – Flaco Jimenez

The creative genius of the great Flaco Jimenez is on full display in this conjunto song about the hardships faced by a Mexican immigrant in Texas. His rhythmic drive, melodic inventiveness, and roller-coaster chromatic runs are thrilling to the ears.

“Streets of Bakersfield” – Dwight Yoakam (with Flaco Jimenez)

Here’s Flaco again, on a recording that went to the top of the country charts in 1988. This song was written by Homer Joy, first recorded by Buck Owens in 1972, and re-done here by Dwight Yoakam with both Buck and Flaco as guest stars.

“Spadella” – Spade Cooley (with Pedro DePaul)

Accordionist and arranger Larry “Pedro” DePaul grew up in Cleveland, Ohio, where he studied music at the Hungarian Conservatory. Spade Cooley, originally from Oklahoma, was a popular Western Swing bandleader in the LA area. There’s a grisly tale behind this tune: Cooley wrote it for his wife Ella, who he was convicted of murdering in 1961.

“Second Avenue Square Dance” – Dave Tarras with the Abe Ellstein Orchestra

Any discussion of the accordion in American roots music should include klezmer, Eastern European Jewish music that came to the U.S. and absorbed influences such as the drum kit, certain jazz band formats, etc. On this tune the great clarinetist Dave Tarras plays the lead, but the anonymous accordionist is heard prominently, playing beautiful fills and rhythm, harmonizing with the melody, and using rich chords to blend with the horns. Second Avenue in Manhattan was the epicenter of the Yiddish theater scene, which had a huge impact on Broadway. The title could be just a lark, or a nod to the musical kinship between klezmer and country music!

“Atlantic City” – The Band (with Garth Hudson)

Garth Hudson’s adventurous playing with The Band carved out a role for the accordion in that kind of rock music. (He also played the horizontal keyboards: organ, etc.) I had the thrill of meeting him when we both played on Martha Wainwright’s live Edith Piaf tribute album (Sans Fusils, Ni Souliers à Paris). Unfortunately, the producers had us playing on different tunes, not at the same time! On this cover of a Bruce Springsteen song, recorded in 1993, Garth creates a fantasy using multi-tracked layers of accordion and organ.

Photo Credit: Erika Kapin

Tommy Emmanuel’s Fiery Guitar Picking Is Not Just for Musicians, It’s for Everyone

Posted on by Justin Hiltner

Tommy Emmanuel is in his happy place: spending a Thursday afternoon at Nashville’s Gruhn Guitars in anticipation of recording a new solo album. “I’m here getting a new pickup system featured in one of my guitars, buying strings, hanging out with the guys, and getting a little Gruhn mojo from the shop,” he says. “The weekend, I’ll spend stringing up and playing my guitars, making decisions about which guitar I’ll use for what song, and stuff like that.”

For the next hour, however, he’s upstairs in the store’s amp room, settled in to discuss his two new albums – the just-released Live at the Sydney Opera House, recorded over the course of two performances in May 2023, and a solo album in the works – along with many other topics. Highlights from that conversation follow.

I was trying to find a starting point for this interview, which is challenging because there are so many. I listened to your January interview with Rick Beato and had a “stopped me in my tracks moment” when you said you spent three days listening to Taylor Swift’s The Tortured Poets Department. I thought, “Tommy Emmanuel is a Swiftie! We’ll start there.”

Tommy Emmanuel: Taylor, as a writer, is definitely a big influence on me. Someone who achieves what she achieves is doing something beyond the norm. Even beyond talent, it’s a spiritual experience, it’s big, and it’s deep, and I like to observe, listen, and learn from people who achieve like that.

You described her songwriting as “crying from the heart.” That stood out because that’s really what music is – it comes from the heart. We always hear that tone is in the hands, but is the heart not at the core of that?

Exactly. I was [writing a new song] and trying to find something that could give me the right melody to say with the chorus what I wanted to say without words, making the melody this cry from the heart. It’s– [sings melody], the chords change underneath, and so there’s movement, but there’s this cry from the heart right in the middle of everything.

Can you tell us more about this new solo album?

Normally, I record here, fly to LA, mix and master it with my friend Marc DeSisto, and I’m the producer. With this album, I’m working here in Nashville with Vance Powell, the busiest guy on the planet. We start on Monday and we’ve got to get it all done in four days.

I have eight new songs, including this piece we’ve been talking about, “A Drowning Heart.” There’s “Black and White to Color,” “Young Travelers” – I’ve got some interesting titles. The songs are different to what I’ve written in the past. There’s a couple of typical fingerpicking tunes that I really like. They’re a little more folk-influenced. The other ones I’ve been talking about are much more ’80s rock and roll style. I have a song called “Scarlett’s World.” The introduction and ending sound a bit like Dire Straits. I did that on purpose, because it’s such a cool sound. That song is inspired by the movie Lucy with Scarlett Johansson. I love that movie. I love her work. My granddaughter is like Scarlett and she is a force of nature. I got the idea to call the song “Scarlett’s World” when I was with her.

I’m enjoying this phase of my life. Whatever page I’ve turned to get to this stage has been worth it, because some songs have come to me in this last six months that I really love playing in my shows. Playing new songs live gets rid of anything that doesn’t need to be there, because sometimes you can write a song, you’re trying to be clever, you’re trying to be creative, you’ve got all these good ideas going, and then you play it for somebody and you realize, “Oh, this part here is not necessary.” You throw it out and get to the meat and potatoes. Forget all the other stuff. Just tell me the story. Take me somewhere. That’s why I like to perform my songs to an audience before I record them. Your instincts are on a hundred. When you walk on stage, your physical and spiritual instincts have risen up and they’re ready to serve you.

Of course, you’ve also just released your live album. You’re known for working without a set list. With such a rich repertoire, how do you sequence your shows, and sequence them so that the performance speaks both to musicians and non-musicians?

That’s so important to me. My music is not for musicians; it’s for everybody. I’m trying to be an all-around artist, entertainer, writer, player, performer. I’m trying to give people a bit of everything. [The show] has to be a journey, a story, entertaining, and when it’s over, I want people to think, “I’ve got to see that again.” There’s a passage in the first Indiana Jones movie that I never forgot. One of the characters says, “What are you going to do now, Indy?” Harrison Ford says, “I don’t know. I’m just making this up as I go along.” That’s me. That’s how I live my life.

Your history with Maton Guitars goes back to your days playing electric guitar. The common trajectory is the player begins on acoustic, and then goes on to electric. True to originality, you did the opposite.

I started on electric. When I was starting to be a songwriter and making my own records, I was mostly writing on electric, 60 to 70 percent, and the rest was acoustic. I started doing solo shows on acoustic and all of a sudden I realized, “Holy smoke, this really works well.” So I started writing more songs to play as a solo acoustic player. It was more pop and rock and roll music, funky, all that sort of stuff.

The record company wanted me to do something we could get on radio, so I made some jazz-oriented records. I got a lot of airplay on jazz stations and that kind of forced me into that direction for a while. It was good, because I learned to write and perform that way. When I moved to Nashville, I wanted to be on the Opry and play the Ryman, so I focused on being more country- and bluegrass-based, which is my roots. My biggest influences when I was a kid, before Chet Atkins, were Jimmie Rogers and Hank Williams. They were my first two loves of music.

What are the biggest challenges of doing what you do the way you do it?

Everything comes down to commitment. How committed am I to be a better player? I often tell people who want to talk about my technique, “I don’t talk about my technique. It’s invisible.” The music is what counts, not how I do it. My abilities fluctuate because I’m a human being. I’m not a robot; I’m not going to be exactly the same every time.

If you want it to be good, to flow, and to be wonderful to watch, then there’s a lot of work ahead. You’re going to have to work so hard to make it that way. I never stop working on my abilities, because it’s so important. My role model, Chet Atkins, worked harder than anybody I’ve ever seen at practicing and making sure that every little detail was so smooth. I will follow that with adding that my age is challenging me as well. There are things I could do twenty years ago that I can’t do today and I have to be okay about that. I have to find new things to replace some of the things that I physically can’t do.

I’ve just come off a five-week tour, which was grueling, long, lots of travel, not a lot of chance to do some serious practice. Every day was like, get to the venue, get my guitar out, start playing, work on some songs that maybe I didn’t play the night before or the night before that, remember some of my other songs that I haven’t been playing, put them in the show, and constantly find ways of making it different and interesting from the night before.

I’ve got to be in good shape physically, mentally, and spiritually to get up there and play my heart out for nearly two hours and throw my whole life into it. I’ve got to eat well, rest well, and have enthusiasm for what I’m doing. I can’t remember a time where I was standing on the side of the stage and thought, “Not this again.” That never has entered my mind. I’m like, “I can’t wait to get out there. I can’t wait to play. I can’t wait to see how this night is going to go and what I’m going to do that’s going to surprise me.”

You’ve told us a bit about your introduction to bluegrass, coming to acoustic guitar from electric, and your passion for jazz. Can you draw a through line between all those genres? How do they shape what you do?

It’s about musical abilities and musical ideas. When I play with Ricky Skaggs, or Molly Tuttle, or anybody, it’s about me fitting into what they do and serving the music as best I can. There’s a bit of bluegrass in everything I play. There’s a bit of blues in everything I play. I don’t feel like I need to be in a box or have a style stapled to me. It’s all music to me.

When I play with Billy Strings, I can hear Doc Watson and Tony Rice, of course, but I can also hear little bits of Stevie Ray Vaughan, B.B. King, George Harrison. You know, we’ve all got it in us. It’s all styles of music together. Bluegrass is such an open-ended thing to me. If I’m playing “Highway 40 Blues” and I take a solo, I don’t necessarily think, “Oh, I’d better tap into Tony Rice.” I just play what I feel at that moment.

A number of musicians have told me that they sometimes get sick of their own playing. Does this ever happen to you, and if so, how do you climb out of that rut?

I get tired of myself sometimes and usually something comes along that lifts my faith in my gift. Right when I think I’ve had enough of me, I need a break, something happens and somebody needs me to play for them, and they remind me, “Don’t forget – you’re here for a reason. You’re here to serve others. When you play, people feel something. They feel happy. So get out of your own head and do it for someone else.”

There are times when you definitely need a break. I just had a week after the tour I finished in Zurich a week ago. I flew into England to be with my grandchildren and my daughters and I didn’t play much. I played a little bit after the girls had gone to bed. I made my dinner, played a little bit, and then watched Netflix and chilled out. It was good. I needed that break.

When your colleagues talk about you, they always describe you as a good guy, a nice guy, a mentor. How much of that comes from the kindness and mentoring you received from Chet Atkins?

I’m just trying to hand on what was handed to me. When you’ve been loved on by a guy like Chet Atkins, you know you’ve been loved. When you’ve been loved on by someone like my mother, who led by example her whole life … what a great soul, a great spirit.

When I moved to the big city when I was young, I was so used to people being almost aggressive towards me, because they thought I was showing off or thinking I was much smarter than them. And it never entered my mind. But they were full of jealousy or fear or whatever, I don’t know. So when I got to the big city and I saw musicians who did things I couldn’t do, when I got to know them, they were so encouraging to me. They were so honest with me. They treated me with a dignity that other people didn’t. And so I just want people to feel good when we play together, because it’s a very honest experience.

Who is your dream artist to work with?

Marty Stuart. What a talent! He’s a free spirit and the kind of guy I like being around. I would love to work with Marty.

You’ve spoken openly about your long battle with addiction. You are in recovery and you’ve also done the work through therapy. What part has guitar played in your recovery journey?

The guitar has always been my go-to thing to help me get through stuff. When I went through my first divorce, we’d been married for 15 years and I thought we were doing great. Everything was wonderful, I’ve got two little daughters, then my wife wanted to separate and then she was with someone else. I had to let her go and I went through a painful divorce.

I was broken beyond measure and my world went upside down. It was during that period that I wrote some of the best music I’ve ever written. It came to help me and gave me something good to focus on. Next thing I know, people are loving the music I’ve written, and I’m out, I’m starting again, I’m off on a new road.

The thing I love [about sobriety] is being clear. I’m present. My love of music and playing in general has grown so much since I’m not ruled by drugs or alcohol. I’m [five years] free and I’m so grateful. What I do now is better, it’s more honest, it’s more real. I don’t feel self-obsessed, self-absorbed, or feel sorry for myself for all the bad things that nearly destroyed me.

I know what addiction is now. I know how to deal with it. It’s finding what the problem is, being willing to talk about it, put the work in, follow the steps, and keep doing the work that has made my life so beautiful and so much better. Sometimes I think, “How the hell did I ever survive that?” I’m guessing that my maker was with me all the way. I’m totally free today, but I don’t take it lightly. It’s living one day at a time, and it’s beautiful.

And finally, what is the difference between playing guitar and being a guitarist?

Being a guitarist is being a gun for hire. Being a guitar player is a way of life. A guitar player is someone who loves to play for people and who loves his instrument deeply.

Photo Credit: Alysse Gafkjen

MIXTAPE: Shoals Gold with Mike Farris

Posted on by Justin Hiltner

Playlists are the new Mixtape – and who doesn’t love a good Mixtape? With the release of my brand new album, The Sound of Muscle Shoals, recorded at legendary FAME Studios in Muscle Shoals, Alabama, I thought it would be cool to highlight not only a few of the most important – albeit ubiquitous – classic songs, but more importantly some of the rare gems from the legendary Muscle Shoals canon. For a nerd like me, to be able to have personal access to reach out to guys like Norbert Putnam and David Hood and ask, “Where was this recorded?” is a surreal and cherished thing. I had no idea that Leon Russell’s “Stranger in a Stranger Land” was recorded down there– just amazing.

For this list, I didn’t want to put just the usual suspects on it, but how could you do a Muscle Shoals playlist and not include the song that launched Aretha’s career, “I Never Loved a Man”? For me, everybody on this list is owed some more attention, but the big three that jump out to me that should be way more well known, in my opinion, are Candi Staton, George Jackson, and Arthur Conley. Enjoy! – Mike Farris

“You Left the Water Running” – Otis Redding

Written by the great Dan Penn along with Rick Hall and Oscar Franks. I believe this may be the only record the Big O recorded at FAME – Rick Hall had merely asked Otis to sing the demo for an upcoming Wilson Pickett session – as this predates Otis’ ascension the King of Soul. This is one of the many great songs Dan Penn had a hand in, by the way.

“I Never Loved a Man (The Way I Love You)” – Aretha Franklin

A must for any Shoals playlist. The song that launched the Queen of Soul!

“Stranger in a Strange Land” – Leon Russell

I actually had no idea “Stranger” was recorded with the Swamper crew. There was a lot of confusion online about this one, but in the sometimes surreal nature of the music business, I realized that I could just text the great David Hood and simply ask him about it, which is nice. And he did, in fact, confirm it was recorded at Muscle Shoals Sound.

“Mustang Sally” – Wilson Pickett

Another must-have. I always imagined being in the studio watching everyone’s expressions on their faces while WP sang. It had to have been unreal. Also, this groove is DEEEP!

“Ease On” – Mike Farris

I tried to demo this song a few times, but it never came close to what I was hearing. From the moment we stepped out on the floor with all the FAME guys in FAME Studios’ legendary Studio A, I knew this song was being delivered to the right guys. It’s everything I imagined it to be and then some…

“You Better Move On” – Arthur Alexander

Arthur Alexander gave Rick Hall and FAME Studios their first hit record with “You Better Move On” and he was just getting started.

“Heart on a String” – Candi Staton 

Candi is one of the greatest R&B singers, period. I could literally fill this playlist with all of the great Candi Staton songs.

“You Got a Lot to Like” – George Jackson

George Jackson was one of the most prolific and important writers in the Southern R&B and rock and roll world, make no mistake, but he was also a great artist in my opinion. This one highlights his great vocal ability.

“I’m Your Puppet” – James & Bobby Purify

A great song by the great Dan Penn and Spooner Oldham. In addition to being an all-around damn fine composition, “I’m Your Puppet” has to be one of the hardest hittin’ mid-tempo grooves of all time.

“When a Man Loves a Woman” – Percy Sledge

I once asked Spooner Oldham and the late Jimmie Johnson why they chose to use a Farfisa instead of a Hammond organ on “When a Man Loves a Woman.” I would actually throw these questions out knowing full well that it would spark a long, meandering, completely engaging conversation with them that could and would take you all over town and back before finally coming back around to what would typically be a simple answer. This question was no different. The answer, given by Jimmie and agreed upon by Spooner was, “We used the Farfisa because that was all we had.”

“I’ll Take You There” – The Staples Singers

Produced by Al Bell, possibly the biggest hit by The Staples features an iconic shoutout by Mavis to the legendary “Swamper,” David Hood, on bass. Jimbo Hart pays homage to his hero, David, on “Learning to Love,” from my new album, The Sound Of Muscle Shoals, which I am forever grateful for.

“Loves Me Like a Rock” – Paul Simon

One of my favorite songs growing up. I clearly remember hearing this song play over WCDT 1510-AM radio station in my hometown as a kid and being completely taken with the backing vocals of the great gospel group, The Dixie Hummingbirds.

“Sweet Soul Music” – Arthur Conley

Classic soul swing-dance groove with one of the most explosive and iconic horn intros of all time! Soon as they heard that intro in the control room, you just know that they knew they had a hit on their hands.

“I Worship the Ground You Walk On” – Jimmy Hughes

Jimmy Hughes at his best with a very underrated classic

“This Love of Mine” – Arthur Conley

Incredible number with an amazing arrangement by the one of the greatest soul singers of all time, Arthur Conley.

“Before There Was You & I” – Mike Farris

I had the verses and chorus when I showed up at FAME. What I didn’t have was the B section for the solo break and the outro, which the great Will McFarlane came up with. It made the song

“Lovin’ the Easy Way” – Candi Staton

This has to be one of the steamiest, sexiest songs ever.

Photo Credit: Ed Rodes

Celebrating Women’s History Month: Crystal Gayle, Rose Maddox, and More

Posted on by Justin Hiltner

Our partnership with our friends at Real Roots Radio in Southwestern Ohio continues as we move from Black History Month to Women’s History Month! This time, we’ll bring you weekly collections of a variety of powerful women in bluegrass, country, Americana, folk, and elsewhere who have been featured on Real Roots Radio’s airwaves each weekday in March, highlighting the outsized impact women have on American roots music. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).

American roots music, historically and currently, has often been regarded as a male-dominated space. It’s certainly true of the music industry in general and these more down-home musics are no exception. Thankfully, American roots music and its many offshoots, branches, and associated folkways include hundreds and thousands of women who have greatly impacted these art forms, altering the courses of roots music history. Some are relatively unknown – or under-appreciated or undersung – and others are global phenomena or household names.

Over the next couple weeks, we and RRR will do our best to bring you more examples of women in roots music from all levels of notoriety and stature. Radio host Daniel Mullins, who together with BGS and Good Country staff has curated the series, kicked us off last week with Dottie West, Gail Davies, and more. This week, we’re shining a spotlight on Kristin Scott Benson, Crystal Gayle, Big Mama Thornton, Reba McEntire, and Rose Maddox. We’ll return next week and each Friday through the end of the month with even more examples of women who blazed a trail in roots music.

Plus, you can find two playlists below – one centered on bluegrass, the other on country – with dozens of songs from countless women artists, performers, songwriters, and instrumentalists who effortlessly demonstrate how none of these roots genres would exist without women.

Crystal Gayle (b. 1951)

She’s a country music icon with signature floor-length hair and a voice as smooth as silk – Crystal Gayle!

Born Brenda Gail Webb in Paintsville, Kentucky, Crystal Gayle stepped out of the shadow of her legendary sister, Loretta Lynn, to carve her own path in country and pop music. She scored her first Top Ten hit in 1975 with “Wrong Road Again.” However, her major breakthrough came in 1977 with the GRAMMY Award-winning “Don’t It Make My Brown Eyes Blue,” a crossover hit that topped the country charts and even made waves on the pop scene. It peaked at Number Two on the overall Hot 100, setting Gayle up to be one of the premiere crossover artists of the era.

With 18 Number One hits, Crystal Gayle has the fourth most chart-topping songs for a female in country music history, even more than her older sister. She became a defining voice of the late ’70s and ’80s, blending country with soft pop for her signature sound. Who could forget those long, flowing locks – almost as famous as her music! A member of the Grand Ole Opry and the Kentucky Music Hall of Fame, she even has a star on the Hollywood Walk of Fame in addition to scores of other awards, honors, and accolades. Crystal Gayle is still shining today, proving that true talent – and great hair – never go out of style!

Suggested Listening:
“Wrong Road Again”
“The Sound of Goodbye”

Big Mama Thornton (1926 – 1984)

Before Elvis shook his hips and Janis wailed the blues, there was Big Mama Thornton. Born Willie Mae Thornton in 1926, this powerhouse of a woman changed music forever.

Thornton’s deep, growling voice and raw emotion made her a legend in blues and rock and roll. She recorded “Hound Dog,” which was written specifically for her, in 1952 – years before Elvis made it even more famous. It sold over half a million copies and reached the Top Ten on the Billboard R&B charts. Her recording of “Hound Dog” is regarded as a pivotal recording in the birth of rock and roll, and truthfully, her female perspective makes the song make a lot more sense.

Like many Black artists of her time, she never saw the wealth or credit she deserved. Big Mama wasn’t just a singer – she played drums, harmonica, and wrote music, influencing generations of artists. Janis Joplin’s hit “Ball and Chain” was written by Big Mama.

As a blues icon, she toured the United States and Europe, worked at many prestigious folk, blues, and jazz festivals, and even recorded an album with Muddy Waters. Sadly, her life was cut short after years of alcohol abuse, passing away at the age of 57 in an LA boarding house; Big Mama was buried in a potter’s field.

Big Mama Thornton paved the way for rock and roll, blues, and soul, and was posthumously inducted into the Rock & Roll Hall of Fame in 2024.

Suggested Listening:
“Ball and Chain”
“Wade in the Water”

Kristin Scott Benson (b. 1976)

A South Carolina native, Kristin Scott Benson is a six-time IBMA Banjo Player of the Year and an absolute force on the five-string. She was a mandolin player as a youngster, but caught the banjo bug at nine years old when she saw Doyle Lawson & Quicksilver in the 1980s with their exciting brand of bluegrass – and a young Scott Vestal on banjo. She joined the all-female bluegrass band Petticoat Junction when she was just a senior in high school, moving to Nashville in 1994 to attend Belmont University.

Unknowingly, she made history during her sophomore year in college when she was hired by The Larry Stephenson Band. She is viewed by many as having “broke the glass ceiling” in bluegrass, by playing in a male-dominated professional bluegrass band, without being married to, dating, or being related to any of the other members – she was simply a powerful picker. Kristin worked two different stints with The Larry Stephenson Band, in addition to working with Larry Cordle & Lonesome Standard Time. She joined The Grascals in 2008, where she has remained for over fifteen years.

Pointing to Sonny Osborne as her banjo mentor, she has fit The Grascals’ sound like a glove with their heavy Osborne Brothers influence. (It was actually Sonny who recommended her to The Grascals for their banjo job.) In addition to kicking tail on stage and in the studio with The Grascals, in recent years Kristin has formed a recording duo with her husband, mandolin master Wayne Benson of Russell Moore & IIIrd Tyme Out. Together they are simply known as Benson.

Kristin Scott Benson received the Steve Martin Prize for Excellence in Banjo & Bluegrass in 2018, and was inducted into the American Banjo Hall of Fame in 2024.

Suggested Listening:
“Up This Hill and Down” – The Grascals
“Conway” – Benson

Rose Maddox (1925 – 1998)

She was bold, she was brash, and she helped shape country as we know it! Rose Maddox wasn’t just another singer, she was a trailblazer.

Born in Alabama and raised in Modesto, California, Rose and her brothers – The Maddox Brothers and Rose – became pioneers of the “hillbilly boogie” sound. Performing on radio as teenagers, their career really took off when Rose’s brothers returned from World War II, anchored by her powerhouse vocals. One of the first hillbilly bands to come from California, The Maddox Brothers & Rose cut a wide swathe, touring across the country, performing on the Louisiana Hayride, and making smash records.

With wild outfits, high energy, and Rose’s infectious laugh, they were country music’s first real rock stars, known as America’s most colorful hillbilly band. In the 1950s, The Maddox Brothers & Rose parted ways and Rose pursued a solo career. She broke barriers as a female country star, scoring over a dozen Top 30 hits like “Sing a Little Song of Heartache” and inspiring legends like Dolly Parton and Emmylou Harris. She also recorded several popular country duets with another legend with ties to southern California – Buck Owens. In 1962, she released the first bluegrass album by a female artist, Rose Maddox Sings Bluegrass, joined by Bill Monroe, Don Reno, Red Smiley, Donna Stoneman, and more.

She would continue to tour and record, even recording an album with Merle Haggard & The Strangers as her backing band. The Hag always pointed to The Maddox Brothers & Rose as one of his influences. Maddox also performed on stage and in studio with California bluegrasser Vern Williams, and even received a bluegrass GRAMMY nomination for her Byron Berline-produced album $35 & A Dream, shortly before her passing in 1998 at the age of 72.

Honky-tonk, bluegrass, rockabilly – Rose did it all and she did it first! So next time you hear a fiery female country singer, tip your hat to Rose Maddox, the original queen of country sass.

Suggested Listening:
“Honky Tonkin’” – The Maddox Brothers & Rose
“Sing A Little Song of Heartache”

Reba McEntire (b. 1955)

From the heart of Oklahoma, one voice has echoed through the decades, captivating fans with her powerhouse vocals and undeniable charm. Reba McEntire, one of the true Queens of Country Music, has been breaking barriers since she first stepped onto the scene in the 1970s.

Her big break came in 1974 when country & western singer Red Steagall saw Reba perform the National Anthem at a rodeo event in Oklahoma. He then helped her land her first record deal. But she was hardly an immediate success, working to find her footing in the music industry and after four years, she scored her first Top Ten hit, “(You Lift Me) Up To Heaven.” After that, she hasn’t looked back!

Reba topped the Billboard country singles chart for the first time in 1983 with “Can’t Even Get The Blues,” the first of her many Number One hits. With over 40 chart toppers and a career spanning more than four decades, she’s done it all. From mega hits to her legendary TV show, Reba, she’s not just a country icon, she’s a cultural force. However, Reba’s most iconic hit only reached #8, from her classic 1990 album, Rumor Has It. A song she learned from Bobbie Gentry, that has been a signature song of Reba’s ever since, it has been certified double-platinum, selling over 2 million copies: everyone loves “Fancy.”

Known for her fierce spirit and down-to-earth personality, Reba’s music continues to inspire generations of fans. Whether she’s singing about love, heartbreak, or resilience, one thing’s for sure – Reba’s voice is timeless. Reba McEntire, a true legend and a voice like no other.

Suggested Listening:
“Fancy”
“Swing All Night Long With You”

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Photo Credit: Rose Maddox courtesy of Discogs.com; Crystal Gayle courtesy of the artist; Big Mama Thornton from Ball N’ Chain.