Country Pickers, Center Stage

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Double-, triple-, quadruple-threats are not uncommon in country music, not in the least. It’s a frequent occurrence, tripping over or into a country artist that’s a songwriter, vocalist, multi-instrumentalist, writer, thinker, and so much more. In fact, until more recent decades, wearing many hats was seen as a sort of prerequisite to making hillbilly music. After all, this is “just” country music, it’s got a wide and deep DIY tradition, and the folks who make it often have to also load in the gear, sell the merch, post on social media, and produce the albums, play the demos and scratch tracks, write the lyrics, and otherwise steer the creative ship.

Some of the most successful artists and most original voices in country music are perfect examples of how multifaceted skill sets translate directly to star power. You may not need to be a Telecaster shredder to make it onto the radio or you may not need to be able to pick like Mother Maybelle to make a living, but if you can back up your songs with mighty playing, it certainly translates with audiences.

From Chet Atkins, Dolly Parton, and Wanda Jackson to Charlie Daniels, Willie Nelson, and Bonnie Raitt, here are just a few legendary examples of hugely successful country artists who are or were excellent musicians and instrumentalists, too.

Chet Atkins

A record company executive, producer, and pioneer of the “Nashville Sound,” Chet Atkins was also a one-of-a-kind guitar picker, renowned across the globe for his unique style – which was inspired by Merle Travis. Atkins certainly made “Travis picking” his own, arguably eclipsing all of his predecessors and continuing to influence guitarists today. An inductee of the Country Music, Rock and Roll, and Musicians’ Halls of Fame, Atkins’ impact is hard to understate and his resume includes work with Dolly Parton, Elvis Presley, Hank Snow, Waylon Jennings, and countless others.

DeFord Bailey

One of the first superstars of the Grand Ole Opry, DeFord Bailey was a world-class harmonica player who was also the first Black performer on WSM’s fabled stage. Some sources also credit Bailey as being the first musician to record music in Nashville. However you approach his career and music, Bailey was a seismic presence in the earliest days of country. Born in 1899, Bailey faced constant racism, bigotry, and marginalization on the Opry, in Nashville, and as he traveled and performed. He passed away in 1982 and was posthumously inducted into the Country Music Hall of Fame in 2005.

Glen Campbell

Even at the highest heights of Glen Campbell’s superstardom, he refused to let his superlative instrumental skill take a backseat to his roles as frontman, songwriter, Hollywood actor, TV star, and tabloid veteran. Campbell’s approach to country music as a true multi-hyphenate celebrity bridged generations, connecting the hardscrabble, DIY generations where multiple skills were necessary to make a living to the modern era, where he helped pave a way for famously multi-talented picker/singer/writers like Vince Gill and Brad Paisley to not be pigeonholed as one thing or the other.

Ray Charles

Any conversation around or collection of superlative country pickers and musicians would be glaringly incomplete without the inclusion of Ray Charles. His incursions and experimentations in country music are many and infamous. His 1962 album, Modern Sounds in Country and Western Music is routinely listed as one of the best country albums of all time. He’s worked with and performed with Willie Nelson, Merle Haggard, Ricky Skaggs, Travis Tritt, Johnny Cash, Glen Campbell, and many, many more. Plus, his country forays demonstrate a deep, holistic understanding of the genre. Charles is a quintessential country multi-hyphenate and country-soul in the modern era would feel especially lacking without his seminal contributions to that tradition.

Charlie Daniels

It’s hard not to wonder what young, hippie, “long-haired,” Vietnam War-opposing fiddler Charlie Daniels would have thought of his older self, and his more harebrained and often hateful beliefs later in life. But the controversial and outspoken musician, at all points of his career, was a picker’s picker. Over the course of his life he performed and recorded with Earl Scruggs, Bob Dylan, Leonard Cohen, and many more. But his chief contribution to American roots music may just be his fiery, unhinged fiddling on “The Devil Went Down to Georgia.” Just wander down Lower Broadway in Nashville on any given Saturday night to feel the impact of that particular show-stopper. In this clip, he chats and performs “Uncle Pen” with Scruggs and Del McCoury.

Vince Gill

That buttery voice, that stank-face inducing chicken pickin’, that high, lonesome sound – Vince Gill is all at once country and bluegrass, Nashville and Oklahoma, western swing and old-time fiddle. Whether with The Eagles, preeminent pedal steel guitarist Paul Franklin, the Time Jumpers, or so many other outfits, bands, and iterations, Gill is simply right at home. Because, at his core, he’s just a picker. He may play arenas, but he knows he belongs at 3rd & Lindsley or the Station Inn. Or Bluegrass Nights at the Ryman. A quintessential picker-singer-frontman, Gill continues to define the myriad ways country stars can maintain their selfhood and personality – instrumentally and otherwise – even in their wild successes.

Merle Haggard

Speaking of chicken pickin’, country’s most famous Okie was a shredder, too. A sad song, a glass of (misery and) gin, a Telecaster, and the Hag – that’s all we need, right there. Merle’s playing style, even at its most technical and impressive, was simple and down to earth. You could tell he cut his teeth playing bars, fairs, and honky tonks. You could almost hear him pulling himself up by his bootstraps as he played.

Wanda Jackson

The Queen of Rockabilly has been slaying rock and roll, hillbilly music, and the guitar for more than seventy years. In 2021 she released her final album, Encore, when she was 84 years old. It features her signature passion and fire – and performances by Elle King, Joan Jett, Angaleena Presley, and more. Jackson has been representing the vital contributions of women to rockabilly and rock and roll for her entire career, just as often commanding the stage with her growly, entrancing voice and her powerful right hand.

Willie Nelson

Who would Willie Nelson be without Trigger? Without a tasty, less-is-more, nylon-string guitar solo? For decades, Nashville, Music Row, and guitar players around the world have been emulating his particular sound as a guitarist – whether they know it or not. Sure, he’s a hit songwriter, a star and front-person, a collaborator of Snoop Dogg and Frank Sinatra, and a connoisseur of fine bud, but perhaps more than all of these accomplishments, Willie is an impeccable picker. He can hold his own with the best of the best, because he is the best of the best.

Brad Paisley

Brad Paisley’s fame crested at perhaps the perfect time for him in country music, combining a rip-roarin’ guitar playing style with a sound that was entirely trad while carrying touches of the bro country wave that was about to inundate the genre. As such, he was able to build a career on the diversity of his skill set, before Music Row and the power behind it began prioritizing music that didn’t need to be musical and voices that didn’t need to be singular. Luckily, Paisley is both those things and more, and despite the many eyebrow raising moments across his career, our faces more often show shock at his mind-bending skill as a guitarist than anything else.

Dolly Parton

How is it that Dolly Parton can play so many instruments so impeccably with those iconic acrylic nails!? Nowadays, you are just as likely to hear Dolly performing to a track – yes, she does lip sync and pantomime playing along with recordings – but don’t get it twisted, she absolutely can play a passel of instruments from her beloved “mountain music” traditions. She plays guitar, banjo, auto-harp, dulcimer, and has even been known to pick up a bedazzled saxophone from time to time – though we can’t guarantee she actually knows how to play that one, we’re still blown away.

And what about thatone viral video with Patti LaBellewhere they play their acrylics like washboards? Dolly can make music with just about any instrument.

Bonnie Raitt

How many people do you think enjoy Bonnie Raitt’s soulful blues and Southern rock sounds without knowing she’s also often the one playing the guitar solos and making that bottleneck slide weep? Raitt is a Grammy winning songwriter, a fantastic vocalist and song interpreter/collector, and – above all, in this writer’s opinion – a superb guitar picker, especially playing slide. She can hold her own with just about anyone, and she has. Her phrasing and use of melodic space demonstrates that she’s been honing her craft for her entire life. That taste can’t be taught, it has to be found. Boy, has she found it.

Marty Stuart

Marty Stuart’s long, fabulous, superlative career began with him filling the role of sideman for such luminaries as Lester Flatt, Johnny Cash, Vassar Clements, and Doc Watson. He plays guitar and mandolin, working up his chops as a youngster with pickers like Roland White as his mentors. When his solo career took off after his Columbia debut in the mid-eighties, his ear for fine picking remained present throughout his music – however far afield from those early bluegrass and country days he may have traveled, stylistically. Whether bringing in psychedelic surf sounds or Indigenous flavors of the American West, Stuart’s catalog of music centers virtuosity that’s never gratuitous. And his band, the Fabulous Superlatives, featuring crack guitarist Kenny Vaughan and multi-instrumentalist Chris Scruggs, represent a high level of picking prowess, too.

Tedeschi Trucks Band

By many measures, Derek Trucks is the world’s foremost living slide guitarist, but don’t overlook powerhouse vocalist and co-band leader, Susan Tedeschi in order to venerate Trucks! Both started playing as youngsters – Trucks when he was a kid and Tedeschi when she attended Berklee College of Music. These two are guitar and blues royalty, helming one of the most impactful modern blues and Southern rock orchestras on the planet. They’re consummate musicians, knowing just how to surround themselves by players who support and challenge, both. Even with their laundry list of personal accomplishments, together, Tedeschi & Trucks – who are also married – are so much greater than the sum of their parts.

Keith Urban

Keith Urban brings a scruffy, down to earth guitar playing style to his polished and glam mainstream country sound. Yes, even as far away as Australia, having instrumental chops means having country currency. When he moved to Nashville in the early ‘90s, with a few Australian radio hits and awards under his belt, he immediately found work as a side musician and co-writer in Music City. It wasn’t long until his star ascended stateside, too – and then, as quickly, around the world – bolstered by arena-ready guitar. Now readying his first album since 2020, Urban shows no signs of slowing down, with the music or the picking!


Photo of Glen Campbell courtesy of the artist.

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Meet the Lineup of This Year’s Edition of Fort Worth’s FWAAMFest

The fourth annual edition of the Fort Worth African American Roots Music Festival (AKA FWAAMFest) will take place this weekend, on Saturday, March 16, at Southside Preservation Hall in Fort Worth, Texas. BGS has been proud to support and sponsor this quickly up-and-coming event over the past few years and 2024’s edition of the all-day festival will be the biggest FWAAMFest yet.

The festival has a mission of centering the vital and transformative contributions of Black and African-American folks to American roots music. Though their purview at first glance may seem “niche,” this is a concept that is as broad and expansive as it is pointed and specific. Festival organizer, Decolonizing the Music Room founding director Brandi Waller-Pace – a regular contributor to and collaborator of BGS – goes out of her way each year to demonstrate Black music, Black artists, and Black stories are not monoliths. Each year’s lineup is carefully curated to show FWAAMFest audience members the depth and breadth of Black musical traditions, not only in Fort Worth but around the country.

Tickets for the event are competitively priced ($50 general admission, $30 for students, with discounts for educators and children) and are truly an excellent value. Where else under one roof can you enjoy workshops, partake in Oakland Public Conservatory of Music’s Black Banjo & Fiddle Fellowship, dine on excellent barbeque and soul food, and hear sets from Jerron Paxton, Lizzie No, Crys Matthews, Joy Clark, Jontavious Willis, Corey Harris, Piedmont Bluz Acoustic Duo, Spice Cake Blues, Lilli Lewis, EJ Mathews, Stephanie Anne Johnson, Patrice Strahan, and Darcy Ford-James?

Below, take some time to familiarize yourself with this year’s FWAAMFest lineup while you make your plans to join Fort Worth at Southside Preservation hall this Saturday for an incomparable day filled with music, history, fellowship, and community building.

Jerron Paxton

Well known to BGS, Jerron Paxton – who you may know as “Blind Boy” Paxton – is a blues, old-time, and ragtime musician adept on many instruments, from piano to banjo to harmonica and beyond. Paxton was on BGS’s Shout & Shine Online lineup in 2020, a virtual showcase also curated by Brandi Waller-Pace. We’ve spoken to Paxton a few times about his incredible, timeless sound – and how he doesn’t view his music as coming from the past, but being rooted in the present. With his material and storytelling, he demonstrates how all of these American roots genres are so closely intertwined.

Lizzie No

Lizzie No’s new album, Halfsies, is certainly one of the best releases of the year. An Americana and country singer-songwriter and multi-instrumentalist, No has a perspective that’s effortlessly modern while steeped in country traditions of the ’80s, ’90s, and 2000s. There’s introspective indie touches, pop infusions, and an end result that’s truly singular. Her music has plenty to sink your teeth into, and we go back to it time and time again.

Check out a recent GOOD COUNTRY feature about feminine country that highlights No and Halfsies and take some time to discover why our co-founder, Ed Helms, highly recommends her music via Ed’s Picks. Oh, and did we mention No co-hosts a BGS podcast, Basic Folk, too? An entire multi-hyphenate, right here!

Corey Harris

Corey Harris is a blues musician who has busked the streets of New Orleans, lived in Cameroon and West Africa, collaborated with Taj Mahal, and garnered millions of streams. His is an old-fashioned sound, but without essentialism or facing backwards. The lead single and title track from his upcoming album, Chicken Man, is out now – watch for the full record later this month. Based in Charlottesville, Virginia, don’t miss your opportunity to see this world-traveling blues picker and singer in Fort Worth.

Piedmont Bluz Acoustic Duo

Valerie and Benedict Turner are Piedmont Bluz Acoustic Duo, inductees of the New York Blues Hall of Fame. They’re committed to bringing “awareness to these unique aspects of African-American culture,” especially Piedmont style fingerpicking, washboard, and what they (rightly) call “country blues.” They’ve traveled all around the world playing Piedmont blues and they’re especially adept at preserving songs and sounds from artists like Mississippi John Hurt, Etta Baker, and Libba Cotten while showing how important their music is in modern contexts – in the present moment.

Crys Matthews

Singer-songwriter-picker Crys Matthews is another FWAAMFest 2024 artist that’s a well known name to BGS readers. An activist in songwriter form, Matthews writes pointed, sharp, and compassionate protest music that’s never saccharine or blinders-on, a rare feat in folk music. She also has a guitar playing style all her own – playing left handed, with the guitar upside down, she also reminds of musicians like Elizabeth Cotten. But still, what listeners take away from her joyful and encouraging sets, filled to bursting with solidarity, is an understanding that what Matthews does with her music is an art form all her own. Check out a BGS fan favorite from 2023, Matthews’ collaboration with Heather Mae and Melody Walker on a rousing community-minded number, “Room.”

Jontavious Willis

Grammy nominee Jontavious Willis was born and raised in rural Georgia and his childhood was filled with gospel music and connections to deep cultural traditions. As a teenager, he discovered Muddy Waters and the blues; it wasn’t long ’til he was sharing stages with Taj Mahal, Keb’ Mo’, and so many of his heroes and forebears. (Mahal called him “Wonderboy,” a certainly fitting and worthy title!) Willis makes music with a huge scope and limitless lifespan, but in that same DIY, hard-scrabble, down to earth way so highly valued in the blues. In 2018, he won the Blues Foundation’s International Blues Challenge Award for Best Self-Produced CD, and his 2019 follow up, Spectacular Class, garnered his Grammy nomination and millions of streams on digital platforms.

Joy Clark

Guitarist Joy Clark is rapidly on the rise – and deservedly so! She tours and performs with the Black Opry Revue, with Allison Russell’s Rainbow Coalition, and as an incredibly accomplished solo picker-singer-songwriter. Just last month, she wowed the Folk Alliance International audience at the International Folk Music Awards with her tribute to Tracy Chapman, showing the intuitive and intentional connections between Clark and queer, Black guitarists, musicians, and songwriters who came before her. The most remarkable thing about Clark’s music, though, is not that it reminds of other musicians and artists – even when it does. Instead, it’s impossible to deny that Clark has a voice on the guitar that is all her own and she’s on a steady march to bring that voice to the world. Thank goodness!

Spice Cake Blues

FWAAMFest has it all, from internationally known artists to insider favorites to gem-like discoveries, like duo Spice Cake Blues. A new introduction to BGS and our readers, Spice Cake features Miles Spicer and Jael Patterson and they are based out of Maryland. Spicer is a co-founder of the Archie Edwards Blues Heritage Foundation and an accomplished Piedmont (and multi-style) guitar picker. Jael, who also goes by Yaya, is a powerful and soulful singer. Spicer also performs with Jackie Merritt and Resa Gibbs in the M.S.G. Acoustic Blues Trio. (M.S.G. = Merritt, Spicer, Gibbs.)

Lilli Lewis

You may know her as “Folk Rock Diva,” Lilli Lewis is a powerhouse vocalist, pianist, songwriter, former record label runner, and forever community builder. Her shows are entrancing, like a combination of Wednesday-night church and a New Orleans Saturday night. Lewis is prolific and critically-acclaimed, and something of a genre and context shapeshifter, unifying the many sounds and styles she inhabits with her heartfelt stories and encouraging words of insight. Her latest album, All is Forgiven, was released in December 2023. Don’t miss her cover of Radiohead’s “Creep,” though, too – there’s a reason it’s so often requested at her concerts!

EJ Mathews

EJ Mathews was born and raised in Atlanta… Texas. A small town near the Arkansas border, Mathews grew up listening to the music of his grandpa – an even mix of country and blues. As such, his sound infuses as much modern blues as country, southern rock, and gospel, with infinite feel and groove. His 2020 single, “Smokin’ & Drankin'” shows so many of the styles he effortlessly combines. Now living in Dallas, Mathews will make the relatively short hike over to Fort Worth for FWAAMFest to bring his unique, melting-pot sound to Southside Preservation Hall.

Stephanie Anne Johnson

Stephanie Anne Johnson is a singer-songwriter and radio host based in the Pacific Northwest. Born and raised in Tacoma, they were already becoming a common sight in folk and Americana circles when they seemingly burst onto the national scene appearing on season five of NBC’s The Voice. Johnson is another FWAAMFest artist who was featured on the Shout & Shine Online lineup in 2020 curated by Waller-Pace. Criminally underrated in national folk, Americana, and indie circles, Johnson creates powerful music that brings love, mental health, togetherness, and redemption all under a compassionate lens – and with a remarkably grounded sensibility. Whether solo or with their band, the HiDogs, Stephanie Anne Johnson is an entrancing musician and songwriter. Don’t miss their 2023 album, Jewels.

You can see all these artists and so much more this weekend at FWAAMFest in Fort Worth! Get your tickets now.


Photos courtesy of FWAAMFest. L to R: Crys Matthews; Jerron Paxton; Lizzie No. 

You Gotta Hear This: New Music From the Bacon Brothers, Rachel Maxann, and More

This week, it feels a bit like musical spring has sprung, and new music is truly blossoming in our current edition of You Gotta Hear This – our once-weekly premiere round-up.

Below, you’ll find a new live performance video from the Bacon Brothers (Kevin Bacon and his brother, Michael), plus singer-songwriter Rachel Maxann has brought us a new track and video, “The Tides.” You’ll also enjoy songs from bluegrasser Darren Nicholson, southern rocker JD Clayton, a bespoke line dance from Buckstein, Rosy Nolan, string band Jake Leg, and a tribute to Mississippi John Hurt from the Tennessee Warblers. Don’t miss the latest edition in our Rootsy Summer Sessions series, too, featuring two original numbers by Jackson Scribner.

There’s so much good music to enjoy, You Gotta Hear This!

The Bacon Brothers, “Losing the Night”

Artist: The Bacon Brothers
Hometown: Philadelphia, Pennsylvania
Song: “Losing the Night”
Album: Ballad Of The Brothers
Release Date: April 19, 2024
Label: Forosoco Music / Forty Below Records

In Their Words: “Sitting down with our co-writer, Casey Beathard, took me back to the early ’70s when I was a staff writer at Combine Music: Set a date and time, drink a lot of coffee, and crank out a song. Songwriters rule in Nashville and always will. Casey’s the top of the top. If you can listen to ‘Boys of Fall’ with a dry eye, then ‘Mister, you’re a better man than I…’ (Yardbirds.)” – Michael Bacon

“Yeah, writing with Casey was great. When we were cutting vocals, I kept returning to the recording we made on my phone as we wrote the song because I wanted to sing it like he did. The autoharp idea just came together at the last minute, but I think it’s pretty cool.” – Kevin Bacon

Video Credit: Bradley Wagner
Audio Engineer: Juan Soria


Rachel Maxann, “The Tides”

Artist: Rachel Maxann
Hometown: Memphis, Tennessee
Song: “The Tides”
Release Date: March 4, 2024

In Their Words: “‘The Tides’ is a soulful, folk love song that beautifully captures the ebb and flow of emotions in a relationship. With poetic lyrics and melodic acoustic arrangements, this heartfelt ballad explores the depth of love, drawing parallels to the rhythmic patterns of the tides. Each verse unveils a tale of connection, mirroring the gentle waves that bind two hearts together.” – Rachel Maxann


Buckstein, “Addicted to Love”

Artist: Buckstein
Hometown: Denver, Colorado
Song: “Addicted to Love”
Release Date: March 8, 2024
Label: Rock Ridge Music

In Their Words: “When my producer brought this classic to me, I just assumed we’d be doing it for fun, never to be released. Robert Palmer is a TOUGH act to follow. Leave it to a damn good producer like Mr. E to bring out of the best in me. When he played me the rough cut, I got incredibly excited about where it was going. The production on our ‘Addicted to Love’ is some of my favorite I ever sang to, and I hope people consider it a fond tip of the hat to the late Mr. Palmer. He was a legend, and this song is timeless. Thank you for listening. I hope it’s as much fun for you as it was for us.

“P.S. We have a line dance. Check it out in the video while you listen (and there are dance instructions at the end of the video).” – Buckstein


Rosy Nolan, “One of Your Songs”

Artist: Rosy Nolan
Hometown: Los Angeles via San Francisco, California
Song: “One of Your Songs”
Release Date: March 15, 2024 (single)
Label: Blackbird Record Label

In Their Words: “‘One of Your Songs’ is a two-tempo song about a woman strung along by a two-timing man. In the first chorus, she protests, ‘Don’t play me like one of your songs,’ only to surprise him later when he becomes one of her songs.

“I was looking to write a song that oscillated between a high energy old-time tune and a traditional country two-step. I wanted the song’s tempo to reflect the extreme highs and lows of a tumultuous relationship.

“My dear friend, Dave, from Grand Ole Country Bunker suggested I shoot my music video at Sassafras Saloon, a bayou-themed bar in the heart of Hollywood. He produces widely-attended country showcases at the venue. It’s New Orleans meets Old West and contains an entire Savannah townhouse inside the bar. The townhouse was shipped out from Georgia and reassembled inside the venue. Word is that it’s haunted by several spirits. It was the perfect backdrop for the video, equipped with a balcony stage, old time relics, and a rotating bottle conveyer belt.

“Our friends, The Cowpokes from Nashville, performed that evening and they graciously allowed us to shoot the crowd shots during their performance. After a 10 hour shoot day, we were fortunate to have a lot of footage to work with.

“Jack Hackett and his crew were fantastic. I used to act when I was younger so it was a thrill to put the guitar down for a bit and get into character. Fellow cast members, Levi Petree and Frankie Lawson, made it easy and fun.” – Rosy Nolan


Darren Nicholson, “Ain’t No Sin”

Artist: Darren Nicholson
Hometown: Canton, North Carolina
Song: “Ain’t No Sin”
Release Date: March 8, 2024
Label: Mountain Home Music Company

In Their Words: “This is our raucous, tongue-in-cheek story of mountain folk separating sin from survival. I wrote this with Charles Humphrey III, and it’s even more ironic as I’m currently several years into sobriety myself. It is a fictional tale of people (The Baker Boys) who did what they had to do to provide for their families and communities. The moonshiner way of life was embraced and woven into so many rural circles. Heck, my dad made illegal whiskey to survive; and he made it for everyone from the grannies to the politicians to the preachers. In many cases, the quality of liquor and how it benefited both producer and consumer, was a point of pride for certain areas. What many people fail to realize is, historically, corn liquor production was a way for people to earn a living when times were hard, like during the Great Depression. Early on, it wasn’t a hobby so much as a way to supplement one’s income as a necessity.

“Where the ‘sin’ part comes into play is when one can acknowledge that whiskey by itself is not a sin, but rather the overindulgence or the behaviors resulting from too much to drink, which are viewed as sinful. This song speaks to the ones who find it most sinful; the ones who can’t control the distribution of it or profit from it. I hope all who listen have fun with this track. That’s the intention!” – Darren Nicholson


JD Clayton, “High Hopes & Low Expectations”

Artist: JD Clayton
Hometown: Fort Smith, Arkansas
Song: “High Hopes & Low Expectations”

In Their Words: “‘High Hopes & Low Expectations’ tells a story about a young man who is searching for his better self and greener pastures. He finally has a chance and enough money to leave town for the big city, leaving behind his home and family. He meets an older gentleman that gives him a bit of free advice: ‘Live with High Hopes & Low Expectations.’ The perspective changes halfway through the song. The young man grows old and tells the listener that the old man who gave him advice long ago was right. Go live and live well with high hopes and low expectations. Life won’t always work out right but you’ll be able to sleep well at night.

“This is really a song to myself. It makes me think of leaving Arkansas for Nashville to make it in music. I love the song so much. I wanted the song to feel like a blend of James Taylor and Elton John. I think we got close. It tells a really cool story and I especially love the word choices in the lyrics. ‘Ferry ride for western skies,’ ‘Whiskey wisdoms poured over ice,’ ‘It feels like dark chocolate, honey butter, and hot coals in a cast iron stove in a library.’ Come on!! I cowrote the song with Kendell Marvel. He has become such a good friend and has been so kind to me as I have started my career. I think of myself as the young man in this song and Kendell as the older man giving me this sage advice. It felt like we were living out the song literally as we penned it. I am still learning to live everyday with ‘High Hopes & Low Expectations.'” – JD Clayton


The Tennessee Warblers, “Louis Collins”

Artist: The Tennessee Warblers
Hometown: Nashville, Tennessee
Song: “Louis Collins”
Release Date: March 8, 2024 (Mississippi John Hurt’s Birthday)

In Their Words: “We’ve been warblin’ this mournfully beautiful murder ballad for a number of years and thought it would be fun to release it in celebration of Mississippi John Hurt’s birthday. First recorded in 1928, the tune has become one of Hurt’s most popular and enduring numbers. Perhaps the juxtaposition of melancholy melody and murder is the reason?

“In 2012, I went on a road trip with photographer, Michael Rooney, to trace the Mississippi Blues Trail. We recently regrouped to pore over the images in search of one to represent Louis Collins’ grave to which the ‘angels laid him away.’ Unfortunately, not long after we settled on the photograph we received news that John Hurt’s home and museum in Avalon, Mississippi had burned down.

“We’d like to urge folks to donate to the Mississippi John Hurt Foundation so that they may rebuild a museum celebrating John Hurt’s kind presence, songs and one of a kind guitar style that continues to entertain and inspire all these years later.” – Adam Dalton


Jake Leg, “Fire on the Prairie”

Artist: Jake Leg
Hometown: Lyons, Colorado
Song: “Fire on the Prairie”
Album: Fire on the Prairie
Release Date: March 8, 2024

In Their Words: “‘Fire on the Prairie’ is the title track of our upcoming debut full-length album and we loved the energy we captured in the studio so much that we made it the first track on the record. I wrote ‘Fire on the Prairie’ when I was reflecting on a story I’d heard about some individuals whose entire lives seemed to revolve around the coming of the apocalypse, in a way that was almost romanticized. I found myself thinking about how growing up in an environment like that might impact a person and how they relate to the world. It’s a somewhat ominous song, thematically, and we aimed to reflect that musically with the sonic landscape of the song having sort of a looming sense of something unknown lurching toward you. I think Eric’s vocal performance on this one fits the song perfectly and the band plays with a sense of urgency that really drives it home.” – Dylan McCarthy


Rootsy Summer Sessions: Jackson Scribner

Last summer, flanked by roadside flowers and backgrounded by a softly cooing dove, singer-songwriter Jackson Scribner graced the videographers from I Know We Should with two beautiful, original songs. It’s the latest installment of our Rootsy Summer Sessions series, shot at Rootsy Summer Fest ’23 in Falkenberg, Sweden on the banks of the Ätran.

Scribner, who was born and raised in rural Texas, first performed “Front Porch Rain,” a track from his 2021 self-titled album, with backing vocals by his brother and duo partner, Levi Scribner. Jackson’s voice is soft, but confident as he sings, “Though I see it now/ watch for the weather, wanted to kill it to stay/ it’s a front porch rain…” a striking lyric beneath the summer Swedish sun. There’s certainly a familial quality to the harmonies, though Levi leaves plenty of breathing room, allowing Jackson’s lyrics to come forward.

Watch the entire session and read more here.


Photo Credit: The Bacon Brothers by Jacob Blinkenstaff; Rachel Maxann by Jamie Harmon, Amurica Photo.

Blackberry Smoke’s New Album Offers a Crunchy Continuation of String Band Traditions

With 23 years behind them, Blackberry Smoke are still one of the best examples of Southern rock in the modern era – but what does that even mean, right?

Led by singer, guitarist, and primary songwriter Charlie Starr, the band does indeed have roots pointing straight to hard-driving ‘70s icons like Lynyrd Skynyrd, the Allman Brothers Band, and more. That’s true, but they also pull inspirations from farther back. And to Starr, Southern rock, at its core, is a continuation of the Appalachian tradition: “String band music and storytelling.”

With their latest album, Be Right Here, some of that old-time tradition shines through the cracks of a warm, distorted wall of sound, with heartfelt song craft and acoustic-guitar melodies front and center. Meanwhile, the band continue to prove crunchy, doubled guitar solos, thundering drums, and anthemic vocals never go out of style.

BGS spoke with Starr before Be Right Here was released, to see what has changed (and what will always stay the same) for one of the most dynamic Southern rock bands in history – a history they know all too well.

I thought I’d kind of start just seeing how you’re feeling at this point. You’ve been burning up the road for over two decades now, which seems crazy to me. How do you feel about where you’ve have been, and where you are now?

Charlie Starr: I mean, I’m tired. [Laughs] No, I feel good. We all do. It doesn’t seem like it’s been that long. It’s surreal to think it’s been 23 years. I don’t feel like I’m old enough to say that I’ve been doing anything for 23 years other than breathing, but I’m proud of what we’ve accomplished. It feels good.

Blackberry Smoke is one of the best pieces of evidence that Southern rock is still alive and well. But I was just wondering, do you think there’s still more to say in that? Is the form still inspiring to you?

Totally. Just listen to any song from those amazing early Skynyrd records or Allman Brothers or Marshall Tucker Band records, Blackfoot – all those bands are so different, and it really was just geography that tied ‘em all together. They all had their own fingerprint. And I think that we do, too.

I was listening to Patty Loveless in an interview and she was talking about bluegrass – which I grew up playing and I dearly love also – and she was talking about how those first generation bluegrass bands, like Bill Monroe and the Blue Grass Boys, Flatt & Scruggs, and the Stanley Brothers, they came from this rich musical heritage of the mountains where they grew up in Kentucky, Virginia, Tennessee, North Carolina. And what they were drawing from was acoustic string band music and storytelling.

Well, now, fast forward all this time, and modern bluegrass musicians not only have that, but they also have Led Zeppelin and the Beatles and the Rolling Stones and all this. There’s so much more. So I kind of look at it in a similar fashion with “Southern rock” bands, because those guys were listening to not only what I just mentioned, with the hillbilly country music and string band music, but also the British invasion and then traditional country and the Beach Boys. As time moves along, there’s just more and more that gets poured into the soup. So to answer your question in a very long-winded way, I think that it can go on forever.

So you’re kind of the third wave of popular Southern music, taking all that was done before and adding in the new influence, too.

Yeah, if we were a tribute band that just dressed up like some old ‘70s band and played their songs, then it would suck. But since we have the freedom to explore our own musicality, it can never end.

The new album is called Be Right Here. What was the spark that got this one going?

In my case, it’ll usually be a little explosion of songs. I’ll know that album time is coming, and so I’ll get to work on writing a batch of songs. It doesn’t always come quickly but it usually seems to work out, which I’m happy to say, because it kind of falls on me – which I don’t complain about that at all. I dearly love to write songs and I’m glad that it’s my job. There are worse jobs to have. Writing songs for Blackberry Smoke is much easier than working in a body shop, which I did for years.

At this point, 23 years on, are you still writing about the same stuff?

Well, I guess stories can all be new, stories of love and loss and frustration and women and men and drinking – or not – whatever. But if you look at popular music as a whole, there are new subjects that enter our culture, like cell phones and the internet and Facebook. I don’t know if I’ve ever used the word Facebook in a song. I probably won’t. But no matter what comes along technology wise, time stays the same. It’s still moving at 60 seconds per minute, and that’s not going to ever change. And human beings behave really the same way.

That said, the internet’s changed everything really. Not entirely, but it’s added a new accent to everything we do. I think John Mellencamp said it best, he goes, “I’m not sure if we’re supposed to hear this many voices at all at once.” That complicates life, really. It might push me back into my hermit hole a little more. As a songwriter even, it pushes me to the old ways more, melodically and musically. I don’t think anything really new can be said. We’re just trying to find an interesting slant on the way we say it.

You teamed up with Grammy-winning producer Dave Cobb for the second time, and he’s famous for live recording and loving first takes. Does that work well for a band like you guys, who are very live-show oriented?

It does. And in this case, it’s very interesting. We went back to RCA Studio A again, and he said, “This time I’m going to put the drums and amps and you guys all in the big room, so we’re all going to be in a little cluster.” And I was like, “Really?” As soon as we started playing together, it was like, “Oh man, okay, this is working. We don’t necessarily need all the separation.”

Some producers would be like, “Hell no. There’s no way I’d ever make a record like that.” It can be too sloppy. But Dave was like, “Well, we’re capturing this one sound. Let’s capture it all in the room, like a ‘60s record or even a ‘50s record.” So that’s what we did.

Tell me a little bit about “Dig a Hole.” It was the first track written, the first track on the album and the first one released, with a theme of choosing your own path – for better or worse. Is that kind of what you have done as a band?

We have. It’s been our only choice, really, because nobody’s ever come around with a different idea. [Laughs] It’s funny, I put together a [track list] and sent it to Dave, and I had “Hammer at the Nail” first. And Dave goes, “Are you insane? ‘Dig a Hole’ is first. Why would you think that ‘Hammer at the Nail’ should be first?” I said, “Because it’s faster.” And he said, “I don’t give a shit about fast. ‘Dig a Hole’ is like you guys are winding up to kick somebody’s ass!”

Azalea” leans more into the folky aspect of what Blackberry Smoke does. It’s got that acoustic shimmer of a classic-rock ballad. Where does that come from for you?

Man, I just love that kind of acoustic music. Again, that kind of stuff was my upbringing, and I’ll never turn it loose. That song lyrically was about fatherhood, because here we are now, our children are all growing up. I’ve already seen one go to college, graduate, now get married, so it’s like, “Well you hold on tight, but you don’t want to smother ‘em.” They have their own path to forge, so all you can do is try to be there for ‘em.

I’ll leave you with the big picture. After 23 years, what you hope people take away from this particular record?

I just hope they dig it. I mean, I don’t know if I expect people to experience it in a different way than I do or not. I don’t know. But I do get a lot of enjoyment right now listening to it.


Photo Credit: Andy Sapp

From “Alligator Bait” to “Gospel Blues,” Joy Is Central on Robert Finley’s ‘Black Bayou’

Been around the world, seen some of everything, but what I like about it the most is the joy that I bring…

– Robert Finley,Livin’ Out A Suitcase

Whether it’s at home or abroad, Robert Finley’s youthful exuberance has a knack for not only lighting up rooms, but people’s faces as well. On his latest batch of songs, the former sharecropper and carpenter – who got his start in music during a stint in the Army – continues that trend with 11 stories pulled from his Louisiana upbringing that include everything from the poignant “No One Wants To Be Lonely” to the cheeky and overly embellished “Alligator Bait.”

Pulling from rock, soul, blues and a whole lot of gospel, Black Bayou is easily Finley’s most personal and sonically developed record to date. His third project with Dan Auerbach and Easy Eye Sound, the record is one that came about organically, feeding on the artist’s energetic live performances with lyrics and arrangements put together on the spot in the studio with no pre-fabricated blueprint.

“When we did this album there was no pencil or paper in the room,” Finley tells BGS of the process. “The band was free to jam what they felt and I had the freedom to say what I felt. Nothing was written beforehand, it all came to life in the moment.”

Born in Winnsboro and now based in Bernice, a North Louisiana hamlet only thirty miles from the Arkansas border, Finley has excelled at living in the moment despite the fast moving world around him. That essence is what accelerates his storytelling throughout Black Bayou, particularly on songs like the aforementioned “Livin’ Out A Suitcase” and “Nobody Wants To Be Lonely,” the latter of which has the artist crooning about the elderly sitting at nursing homes around the country with no family wanting or able to keep in touch or care for them. It’s a topic that Finley doesn’t just sing about from the studio, though. He visits nursing homes in his community on a regular basis to serenade its residents.

“So many people have been forgotten,” says Finley. “Their kids drop them off and go on with their lives. I go down occasionally and perform at the old folks home in Bernice. Just take my guitar and play for 30 minutes or so, try to get them to dance, try to bring some joy to them.”

Whether in those homes or the local clubs, Finley is determined to use his platform to give back to the community that made him. In addition to never turning down a conversation or photo op, he also aims to lift up the next generation of musicians, offering support and guidance to those cutting their teeth and in need of a role model as they pursue their own musical dreams.

“I always go back whenever I’m not on tour, simply because that’s where I got my start,” says Finley. “It also gives me a chance to encourage the young artists there to pursue their dreams, because I can share how I started busking over there on the corner eight years ago and now I’m touring the world. Had I not made that first step, then nobody would even know what I was capable of doing.”

As listeners have come to expect from Finley, Black Bayou is full of lust, love, spirituality, and humor as well. Tunes like “Sneakin’ Around,” “Miss Kitty,” and “Can’t Blame Me For Trying” showcase Finley’s flamboyant and flirtatious side, which goes hand in hand with his center-stage shimmying and shaking at live shows. On the flip side, cuts like the swampy album closer, “Alligator Bait,” unravels as a spoken word recollection of a formative day on the bayou with his grandfather with a gnarly and always evolving backbeat oozing with attitude.

Together these stories make a patchwork quilt of sounds, emotions, and stories that only Finley could piece together. Calling into his North Louisiana home, we spoke with Finley — our November Artist of the Month — in detail about Black Bayou, making music with his family, the similarities between performing and preaching, and more.

What has busking taught you about performing and holding an audience’s attention?

I’ve learned that you don’t need to put all of your eggs in one basket. I’m always trying to shake it up and introduce new things to the crowd at my shows, because no matter how good a movie is, if you watch it two or three times you’re going to know exactly what happens next. It doesn’t mean it’s not a great movie, it just means you’re not going to watch something that you already know the result of. I don’t want to rehearse and be programmed to do the same thing over and over, I need to have the freedom of the spirit of the moment.

Your daughter Christy Johnson and granddaughter LaQuindrelyn McMahon both joined you on this record. What’s it mean to you to share your love for music with them?

It’s great being able to have three generations of Finleys singing together. I’ve always admired Pop Staples and The Staple Singers for him and his daughters. I have two other daughters as well, but they both work in the medical field and can’t just uproot and follow me around the world. My oldest is a licensed beautician, but put it on hold to help me pursue my career due to my sight being bad. She saw that I was determined to do it either way, so she sacrificed hers to make sure I wasn’t alone. Because of that I want to share the spotlight with her every chance I get.

She first came on during the audition process for America’s Got Talent, which was her introduction to the world. The label loved her so much that they were willing to use her on the albums. Soon we needed a second background singer, so I let Dan [Auerbach] know about my granddaughter. He and the label were immediately supportive and have been willing to [incorporate] as much of my family as possible into my career. This is mostly just me trying to open a gateway for them, because they have the potential to be bigger and better successes than me. Or at least it won’t take them 69 years to get discovered.

You’re often referred to as a bluesman, but Black Bayou could also just as easily be described as a gospel album. What are your thoughts on the dynamic between the two genres and how you’re able to tie them together on the record?

The only difference between the gospel and the blues is really the choice of words you use. The same music that you hear in the club is being played in the church and the same music that we grew up on in the church is being played in the clubs. The only difference is that if you want blues you sing “oh baby” and if you want gospel you sing “oh lord.” Other than that, a lot of the rhythms and dances are the same.

What’re your thoughts on continuing to make this type of music in the modern age?

I don’t even look at it as gospel or blues anymore. I look at it as just saying the truth. Regardless of what you’re going through, there’s someone else who’s somewhere who’s been through the same thing. The fact that they made it through gives hope that you can do it, too.

As artists, we’re blessed with fans that will pay to come see you and even take your advice home with them. The same people who go to church will not remember a thing the preacher talked about, but if they like your song they’ll remember it word for word. If you’re really trying to reach people, you’ve got a better chance to reach a lot more folks by singing than you would preaching. Nobody wants to listen to an hour and a half or two hour sermon, but they will stay around a concert for an encore. That’s why it’s so important when you have the world’s attention to tell them something positive with it.

It almost sounds like you view yourself performing on stage like a minister preaching from the pulpit?

That’s it. I can get a bigger crowd than the average preacher even though church is always free, but even then people will flock to the clubs. I’ve also sang “Amazing Grace” in nightclubs and had people put down their glasses, sing-a-long, and go to church with me. You just don’t know what people will do. Everyone’s going through something. If you stop the church people from going to the club then the club will shut down, because most of the people frequenting there are church folks from the other side of town. The problem is that while there they’re not getting the truth. They’re getting the water, but not the wine.

There’s not a better song on the album that ties these influences together than the aptly named “Gospel Blues.” Are you hypothesizing what you’ll do in heaven on it?

I’m trying to tell people not to be so judgmental. That’s why I sing, “I do drink a little whiskey, and I’ll take a little shot of wine” – because it’s better to be real with people than to try and fool them. Whether I have some whiskey [or not] isn’t going to have anything to do with whether or not I go to heaven or hell.

Another song I’ve been captivated by is “Alligator Bait.” Is that a true story?

That song was actually designed more or less as a joke. I never met my grandfather on either side, but I did hear stories when I was sitting around with my dad and his brothers about things like that. It seemed like I had a cruel, cruel grandfather, but that wasn’t the message I was trying to convey. I was trying to prove that any song where you think you’re right needs to be like you just read a novel. It needs to tell a story. It’s more about being a convincing writer than deceiving.

On the cover of Black Bayou is the pond that I used to swim in and got baptized in. For a while it’s just been deserted, but we went back there, because it conjured up a lot of those childhood memories. Even just standing there taking photos my mind flashed back to the things we used to do there like swimming on one end and fishing on the other. Us jumping in the water would scare the fish over to the other side where they could get caught easier, which in many ways is similar to how the alligator is lured in the song.

What has music taught you about yourself?

It’s helped me to find and be myself. I used to try imitating everyone from James Brown to Ray Charles, but soon I realized that the only person I could be the best version of was myself. Nobody can beat you being you. If you just be yourself then you’re automatically different from everybody else anyway. Being real with myself and my music has opened so many doors for me, because of that.


Photo Credit: Jim Herrington

Artist of the Month: Robert Finley

Dan Auerbach’s Easy Eye Sound has an impressive catalog and roster of albums and artists. While it’s easy to trace how each intersects or diverges from Auerbach’s own musical and artistic approaches, only a handful of artists who’ve had releases with the label truly supersede the star power of their Grammy Award-winning producer, co-writer, and collaborator. Yola utilized Auerbach and Easy Eye as her gravitational assist to slingshot herself up into roots music’s – and now, Hollywood’s – stratosphere; Nat Myers‘ brand of down-to-earth, hardscrabble blues feels equally right at home and as a superlative outlier among his labelmates; and, perhaps chief among the top of Easy Eye’s “class” of music-makers is another bluesman, Robert Finley. His brand new release, Black Bayou, is his third with the label – and it finds him continuing to stake out his musical territory, confident in the well-deserved notoriety he’s now gained at this late point in his career. (Finley, as of this writing, is 69 years young.)

Black Bayou is blues unencumbered by the perennial rhetoric and discourse that engulfs this genre and tradition. What role do the blues have to play in a post-modern society? Can acoustic, old-fashioned, and/or vernacular blues music be modern, forward-looking, and responsive? Is blues dying, or is our fear of its decline or demise yet another facet of this form? Can the blues be something more than “time capsule” music? Black Bayou, with Finley’s trademark joy and wizened smile, encourages its listeners to also laugh in the face of these often pseudo-academic, fedora-wearing musical intellectuals. This is music for the present; this is music that’s visceral, propulsive, and – well, fun.

You can tell that Finley and his cohort had fun making it, too. Auerbach appears on Black Bayou, as does drummer Patrick Carney, his partner from their preeminent rock duo, the Black Keys. Eric Deaton (bass), Kenny Brown (guitar), Jeffrey Clemens (also on drums), and vocalists Christy Johnson and LaQuindrelyn McMahon – Finley’s daughter and granddaughter, respectively – round out the project’s ensemble. It’s a cohesive group, serving Finley’s musical mission perfectly and, when appropriate, getting the hell out of his way. It’s part of why Finley does rise above the Easy Eye Sound prestige and pomp, cutting through crisply, with a direct and honest point of view.

This music isn’t just grounded in the present, it’s also rooted in Finley’s home turf of Northern Louisiana, perhaps explaining why he can both be totally unconcerned with “authenticity” while also being a fountain of raw, direct sincerity. Here is a musician and singer who makes music for all of the right reasons, continuing to do it because it’s what he does. His expertise is kind and open, inviting even the casual or uninitiated listeners to engage with his music on the same level as the bespectacled blues autodidact.

Roberty Finley and Black Bayou are disarming, prescient reminders that whatever forms roots and vernacular musics take, they will always have unmeasurable value when viewed as paragons of the present rather than relics of the past. We are all lucky to inhabit a present that includes Robert Finley.

Watch for an exclusive BGS Artist of the Month interview with Finley later in November and, for now, enjoy our Essential Robert Finley playlist below.


Photo Credit: Jim Herrington

WATCH: Nat Myers Brings the Healing Power of the Blues to PBS News Hour

On the heels of his critically-acclaimed Easy Eye Sound release, Yellow Peril, Korean-American blues musician Nat Myers made his national television debut on PBS News Hour last month, channeling the healing power of the blues. Born in Kansas and raised in Tennessee and Kentucky, Myers found the guitar and developed his right hand technique as a youngster. The aspiring poet developed his chops, his lyrical style, and his songwriting perspective as many blues musicians do: Busking and performing for his own enjoyment and entertainment.

Yellow Peril, a stand out among Easy Eye’s and Dan Auerbach’s now expansive catalog of first-rate recordings, finds Myers superseding the stardom of his collaborators – like Yola, another Easy Eye alumnus, did before him – with a collection of songs that capitalize on blues’ unique ability to consume, digest, and engage with complex and divisive issues. Race, justice, equality and equity, class, consumerism, and many more hot-button issues permeate this album. But overall, this is still a rollicking, enjoyable, danceable collection of songs, striking a deft balance that feels inherent to a genre through which Myers expresses himself so well.

Watch Nat Myers’ PBS New Hour appearance above and don’t miss his recent Grand Ole Opry debut, as well. Myers will continue to tour Yellow Peril through the end of 2023 and into 2024 – don’t miss this singular voice among the current American roots music scene.


Photo Credit: Jim Herrington

Buffalo Nichols Champions Blues in the 21st Century

Singer-songwriter and instrumentalist Carl “Buffalo” Nichols loves and treasures the blues, but he acknowledges that his vision of what the music can and should do differs greatly from that of many performers he’s met in the field. Indeed, Nichols, whose brilliant new LP, The Fatalist – his second for Fat Possum, which dropped September 15 – doesn’t mince words when he discusses the issues he faces and the things he wants to see change in regards to the music, as well as attitudes held by many in positions of authority in regards to its promotion and distribution. 

“I tell folks I’m a songwriter initially, because when you say you’re a blues musician, then there’s a whole bunch of stereotyped impressions that you’ve got to get beyond,” Nichols said during a lengthy recent phone interview with BGS. “There was a period there a couple of years ago, right after George Floyd, where for a time there was this sense, or at least it was being said, that the blues community needed to change, we needed to diversify, to become more relevant and reflective of things happening in America. But now that seems to have passed, and we’re back to the same old thing. There’s too much conservatism among the older crowd, who often are in control of the blues radio stations and who are responsible for why the music isn’t more widely heard and accepted. And there’s too many artists just putting the same stuff out there.”

Nichols is among a growing number of African American artists anxious to smash idiomatic barriers regarding not just blues, but American music, period. He is a master at carefully paying attention to traditional values like keen storytelling, soulful delivery and expressive lyrics, while also utilizing contemporary elements and devices. The Fatalist includes a stunning cover of Blind Willie Johnson’s majestic “You’re Gonna Need Somebody On Your Bond.” The LP’s first single, Nichols’ robust baritone soars through the message of salvation with vigor, driving home both its urgent intensity and evocative theme. However, Nichols also says the song epitomizes another part of the dilemma he faces regarding broadening the blues’ appeal.

“That one kind of gets caught in a double trap,” Nichols continued. “On the one hand, you’ve got religious lyrics, then on the other you’ve got the blues sensibility. So, while the traditionalists who know Blind Willie Johnson love it, it has a hard time getting past the gatekeepers, because it also has some contemporary production touches. That’s kind of the double struggle you face. You’ve got the white traditionalist and conservative types who are dominating the blues marketplace, then when you’re trying to reach the Black audience, you’ve got what they call the ‘urban contemporary market.’ Because it’s blues they won’t play it.”

Still, Nichols is making some headway on the scene, both critically and in terms of gaining followers. He says he’s seeing a lot more young folks in his audience, as well as more Black fans. Though his appeal and notoriety don’t yet match that of a Christone “Kingfish” Ingram or a Shemekia Copeland, Nichols is steadily gaining more attention and acclaim. He opened several dates last year for Valerie June, another marvelous Black performer whose music incorporates classic and current sounds. He stands prominently alongside other rising blues stars like Gary Clark Jr., Marquise Knox and Eric Gales. The Fatalist reflects the vision and scope of a 30-something performer whose background includes at various times being in a grindcore band (Concrete Horizon), and playing folk and Americana, while also being part of a duo in Milwaukee (Nickel & Rose) with bassist Johanna Rose. His disenchantment with an Americana scene he considered overwhelmingly white and less than encouraging to his artistic vision led him to Fat Possum.

“I really felt it was important at this stage to have a label behind me,” Nichols said in response to a question about why he chose to sign with Fat Possum. “While it’s not the type of thing where we’re sitting down and trying to pick songs for radio, it is a thing where they’ve been very supportive and encouraging. They’ve provided me a place and a forum for what I want to do, and they appreciate my vision and are doing all they can to help me.” 

The Mississippi-based label was once widely celebrated for its championing of hill country blues greats R.L. Burnside and Junior Kimbrough, but in recent years had drifted far away from that model. Buffalo Nichols, his debut release, was the company’s first blues outing in two decades. It set the stage for The Fatalist, whose eight songs reveal a strong songwriting focus Nichols says is indicative of both personal growth and his desire to use the blues form to do more than rip through scales and display great individual musicianship. “I’ve been a guitarist for 20 years, but it’s really only been the last 10 that I think I’ve really grown as a songwriter,” he continued. “Being able to express myself is a challenge, and using the blues to do it is what drives me.”

There’s no question that The Fatalist doesn’t necessarily adhere to the standard blues formula, and that’s setting aside the presence of drum machine tracks and enhanced sonic quality. Its song sequencing and overall lyrical flow are edgy and compelling.

Standout cuts like “Love Is All” or “The Difference” offer contrasting views of a relationship. The former is optimism grounded in the wisdom of admitting that even good guys can go astray, while the latter spotlights a breakup that doesn’t so much place blame as document the painful end of something that was once glorious. There’s also the hard-hitting opening number “Cold Black Stare,” and the triumphant finale, “This Moment,” that features special guest vocalist Samantha Rose. The album has a sonic clarity and power that puts it in a league with anything done at a state-of-the-art studio in Nashville, LA, or New York, yet it was recorded in Nichols’ home – and he produced it. The decision to cut it there is also part of a larger career change that Nichols made last year, when he moved back to Milwaukee after spending years in Austin.

“In some ways it’s harder for me now being back home,” Nichols said. “But in other ways it’s good, because now I have to do it myself. I don’t have the machinery or the apparatus or the surroundings that I would have in Nashville or Austin or LA. It’s like it was when I was growing up. I’m being responsible for my own music now, and that’s a good thing creatively, even if from a business aspect sometimes there’s a struggle.” 

Buffalo Nichols is now in the midst of an extensive tour, with the American portion running through mid-December, then a European leg beginning in early January and continuing through mid-February (for now). While being adamant about not setting goals, Nichols says he definitely has things he wants to accomplish career-wise.

“For me, I always want to look ahead, I want to progress as a songwriter and a guitarist,” Nichols concluded. “I don’t ever want to make the same music over and over. I don’t want to be predictable. I want to contribute something original, something that when I’m gone people will look back and say that this was something fresh and inventive that Buffalo Nichols made.”


Photo Credit: Samer Ghani

Basic Folk: Buffalo Nichols

Milwaukee singer-songwriter Buffalo Nichols returns to Basic Folk today to talk about his new album, The Fatalist, out this September from Fat Possum Records. We picked up where Nichols’ debut album left off, traveling the world hot on the heels of the blues. Following a profound tradition can be just as frustrating as it is romantic. In his years on the road promoting his self-titled debut album, Carl aka Buffalo has witnessed how the blues can be a home base for listeners’ nostalgic, back-in-the-good-old days, artistically stagnant, patriarchal tendencies. He wants none of it. The Fatalist is an offering to the gods of change, of self-awareness, of integrity.

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One of the major achievements of this collection of eight songs is the seemingly effortless sonic collage that comes second nature to hip hop but is less discussed in roots and Americana. From a Charley Patton sample to “Ali Farka” Touré-influenced fingerpicking to tasty 808s to contemporary songwriting that wrestles with what it means to be a good man in 2023, The Fatalist tells a story about the present, while keeping the past close and eschewing sentimentality. This sense of being in conversation with storytellers of the past is a pillar of what I would call the Black Art Tradition, and it is part of what makes Buffalo Nichols one of the most exciting artists in blues music right now.


Photo Credit: Samer Ghani

33 Must-See Roots Artists at This Year’s Bourbon & Beyond

Since 2017, Bourbon & Beyond has become one of the BGS Team’s favorite annual events. The music, spirits and food festival held at the Kentucky Expo Center in Louisville, Kentucky, always boasts a roots-forward lineup – on and off the BGS Stage.

In anticipation of Bourbon & Beyond kicking off Thursday, September 14, and running through Sunday, September 17, let’s preview all of the artists gracing our stage throughout the weekend – and we’ll throw in a few we’re excited to catch on the main stages as well. 

Limited tickets are still available! Join us this weekend at Bourbon & Beyond in Kentucky. Scroll to see the full schedule for the BGS Stage. 

The Arcadian Wild – BGS Stage

We’ve been a fan of this bluegrass-infused Nashville string/Americana band for more than a few years now. In 2021 we invited the Arcadian Wild to perform a Yamaha Artist Session, for which they performed two songs, “Hey Runner” and “Finch In the Pantry.” They hit the BGS Stage at B&B on Sunday.

Armchair Boogie – BGS Stage

We recently caught this jammy Wisconsin outfit, Armchair Boogie, at Earl Scruggs Music Festival, where they burnt down their late-night set. You have two opportunities to see them on the BGS Stage, as they’ll kick us off both Friday and Saturday.

The Avett Brothers – Main Stage

These Saturday headliners need no introduction to our BGS readers and followers, as the Avett Brothers have been a staple of our community for nearly our entire lifespan. Looking at the Bourbon & Beyond lineup poster, it’s hard to believe we didn’t book this entire event! 

Jon Batiste – Main Stage

Fresh off the release of a brand new album, World Music Radio, in August, don’t miss Americana renaissance man Jon Batiste when he hits the B&B main stage on Sunday. We can certainly appreciate this Louisianan’s love for blurring genre lines – a perfect fit for Bourbon & Beyond.

Brandi Carlile – Main Stage

Let’s return to MerleFest 2019, the last time we had a stage at a festival Brandi Carlile headlined – and she brought her pals the Avetts out to sing “Murder In the City.” A BGS classic! We’ll be running from the BGS Stage to see Brandi on Thursday evening for sure.

Brandy Clark – Main Stage

Appropriate that Brandi and Brandy would end up as list neighbors and both on the Bourbon & Beyond main stage lineup, as the former produced the latter’s stunning new self-titled album. Clark has been a Music Row mainstay as an artist and songwriter for decades, but with her new record and her hit Broadway show, Shucked (penned with Shane McAnally), she’s finally getting her well-deserved flowers. 

Clay Street Unit – BGS Stage

We crossed paths with Denver, Colorado, country-folk-grass group Clay Street Unit earlier this year at WinterWonderGrass, so we’re more than pleased to have them on the BGS Stage on Thursday afternoon. 

Michael Cleveland & Flamekeeper – BGS Stage

Fiddlin’ phenom Michael Cleveland has performed for BGS at Bourbon & Beyond before, but with his new critically-acclaimed album, Lovin’ of the Game, and his recent selection as our March 2023 Artist of the Month, it’s the perfect time to get him back to Louisville. It’s basically home turf for Cleveland, and his set Thursday evening is not to be missed.

The Cleverlys – BGS Stage

Bluegrass’s preeminent song-interpreters – or song skewer-ers, depending on how you look at it – are a humorous hoot, bolstered by fantastic picking and on-stage personas pulled straight out of a caricature book. If you’ve never seen the Cleverlys live and in person, now’s your chance to catch covers like this waltz version of Radiohead’s “Creep” like you’ve never heard them before. 

Della Mae – BGS Stage

Our old pals Della Mae brought an outsized energy and charisma with them to their sets at Earl Scruggs Music Festival a couple of weeks ago, wowing the crowds in North Carolina. Now the groundbreaking bluegrass foursome set their sites on the BGS Stage at Bourbon & Beyond. There’s a reason why this group of all women remains a stalwart in bluegrass, old-time and Americana.

Myron Elkins – BGS Stage

If you’re not familiar with guitarist and Americana alt-rocker Myron Elkins, you’re about to be! His debut album, Factories, Farms & Amphetamines, was produced by superstar musician-engineer-producer Dave Cobb and released on Elektra. Catch him as he ascends on the BGS Stage on Thursday, kicking off the entire weekend for us at 12:30 p.m.

Fantastic Negrito – Main Stage

Fantastic Negrito is a one-of-a-kind performer. An expert in blues – and a purveyor of post-blues, neo-blues, and the tastiest of fringe Americana – Fantastic Negrito occupies a stage like no other. He’s a Bourbon & Beyond veteran as well, and his past performances are seared into our memories of this amazing event. Do not miss!

First Aid Kit – Main Stage

Indie folk duo First Aid Kit, made up of Swedish sisters Klara and Johanna Söderberg, are a favorite of BGS readers – the kind of readers who equally love Bill Monroe, Nickel Creek and boygenius. Get a taste at their Saturday main stage set or check out our 2018 feature on the group.

Drew Holcomb & the Neighbors – Main Stage

Don’t you just wish Drew and Ellie Holcomb and the Neighbors were your neighbors? (Sigh…) It just seems like it would be lovely. At any rate, you can catch up with these fine folks from next door on the main stage at B&B on Thursday. 

Brittany Howard – Main Stage

A god of rock and roll incarnate, Brittany Howard’s particular brand of roots rock is enormous and will fill the Bourbon & Beyond main stage and then some. If you haven’t caught the Alabama Shakes front person recently, now is your chance. Howard hits the main stage on Friday.

The Lil’ Smokies – BGS Stage

Formed in Montana, the Lil’ Smokies combine so many contemporary bluegrass influences into a Western-influenced, jam-forward sound. We enjoy every chance we have to cross paths with this group – if you miss their set at Bourbon & Beyond, catch the Lil’ Smokies at AmericanaFest in Nashville very soon.

Lindsay Lou – BGS Stage

Roots singer-songwriter Lindsay Lou is entering yet another new era of her career, with her signing to Kill Rock Stars and upcoming album, Queen of Time, due out later this month. At Bourbon & Beyond you’ll have two chances to hear current and past sounds from Lindsay Lou – on both Saturday and Sunday on the BGS Stage.

The Lone Bellow – Main Stage

One of our all-time favorite rootsy, folky, string band trios. It’s been too long since we’ve reconnected with our friends The Lone Bellow and we’re grateful B&B will give us that opportunity when they play the main stage on Thursday.

Lola Kirke – BGS Stage

Lola Kirke, who you can see on Friday on the BGS Stage at B&B, is an accomplished actress whose dream is to be a country singer – dream, achieved! She makes joyous, lyrical, story-rich music that pulls as much from country’s grit as its glitz. (And an appearance from lineup-mates First Aid Kit on “All My Exes Live in L.A.” is the cherry on top.)

Joy Oladokun – Main Stage

Intricate and involved indie folk is Joy Oladokun’s medium, her songs dripping with pop sensibilities and led by an agnostic approach to genre that builds on work by predecessors like Aimee Mann, Ani DiFranco, Tracy Chapman, k.d. lang, and many more. Oladokun continues to rise through the music-industry ranks, her latest album Proof of Life building more momentum off the ex-evangelical’s heart-forward, earnest, stoner indie pop.

Old Crow Medicine Show – Main Stage

Old Crow Medicine Show bring the Jubilee to Bourbon & Beyond! Don’t miss the party as the world’s most renowned and rollicking string band celebrates their just-released album on the B&B main stage on Saturday. And keep an eye out for a BGS feature on the new record coming soon to the site.

Pixie & The Partygrass Boys – BGS Stage

Another of our WinterWonderGrass pals headed to Bourbon & Beyond! Catch Pixie & the Partygrass Boys on the BGS Stage kicking off our final day of music on Sunday. You’ll certainly enjoy the party – unless you’re a fascist, in which case, avoid our stage altogether or you might get eaten by some chickens.

Darrell Scott Band – Main Stage

Darrell Scott is a musical shapeshifter, effortlessly moving from Music Row country to dyed-in-the-wool bluegrass to rocking and rolling. At his Bourbon & Beyond main stage set on Friday, you’re sure to hear new tracks from his recent album, Old Cane Back Rocker, made with the Darrell Scott String Band, as well as original hits like “It’s a Great Day to Be Alive” and some tasty covers, too. We never get enough of Darrell Scott! (Watch for an interview with Scott coming to BGS soon.)

Frank Solivan & Dirty Kitchen – BGS Stage

If this is the kitchen dirty, let’s never clean it up! Frank Solivan & Dirty Kitchen are a shredding bluegrass jam band certainly worth sticking around for on Sunday evening. You’ll hear music from their most recent Compass Records album, Hold On, which recently turned one year old, and plenty of mind-(and string-)bending solos.

Mavis Staples – Main Stage

Put the legendary Mavis Staples’ main stage set (Friday, 3:50 p.m., Oak Stage) on your calendar and circle it. And underline it. And set a push notification. We are grateful every single time we get to occupy the same space and air as Mavis, and this time will be no different. It’s a privilege to walk the earth at the same time as this civil rights leader and musical oracle! 

Billy Strings – Main Stage

Not so long ago our old friend Billy Strings would have been playing our BGS Stage, but not anymore, this flatpickin’ global sensation has decidedly hit the big time! We’ve so enjoyed watching Billy move up and up and up in the world and we can’t wait to see his main stage set at Bourbon & Beyond Thursday night. With such a stacked lineup, the special guest opportunities are exciting and limitless. 

Town Mountain – BGS Stage 

Western North Carolina string band Town Mountain have built up their sound over the past few years to where they feel and sound something like Ricky Skaggs in his country days — bluegrass bones, but fleshed out country. Their songs still go by you like a rousing honky tonk dance band, bluegrass or no, but with spit and polish and thousands of miles under their belts. Worth an add to your B&B to-do list!

Twisted Pine – BGS Stage

Another group that blew us away at Earl Scruggs Music Festival, Twisted Pine turns the jamgrass model on its ear, building their vibey, virtuosic songs and tunes with as much jazz interwoven as bluegrass, old-time, and country. They’re like Lake Street Dive and Crooked Still, mashed up together and lingering a bit longer in string band traditions – from across the Americana continuum – before taking off. Plus, bluegrass just needs more flute, right? See them Friday on the BGS Stage.

Two Runner – BGS Stage

We’re glad to be bringing some California sounds to Kentucky with Two Runner, old-time and Americana duo of Paige Anderson and Emilie Rose coming to B&B. They bring to mind duos like Hazel & Alice and Anna & Elizabeth, combining country harmonies and old-time instrumentation – all dragged through the coastal evergreen woods of Northern California. Hear them Thursday on the BGS Stage.

Dan Tyminski – BGS Stage

Dan Tyminski headlining a BGS Stage is simply a dream come true! This multi-hyphenate, lifelong bluegrasser has been a member of so many seminal and groundbreaking bluegrass groups and projects. He’s had a full career within and outside of bluegrass, but lately has returned to the genre that made him with a new band, a new album, God Fearing Heathen, excellent songs, and that voice – fit for George Clooney. 

Kelsey Waldon – BGS Stage

Kelsey Waldon on her home turf! Though she hails from West Kentucky, the entire state is certainly this country singer-songwriter’s domain. We’ve collaborated quite a bit with Waldon across her career, and are looking forward to her headline set closing out our first day of Bourbon & Beyond on the BGS Stage. She may be country, but her bluegrass roots run deep – and will be on full display at B&B for sure. 

Sunny War – BGS Stage

 One of our favorite guitarists of the last several years has released one of our favorite albums of 2023, Anarchist Gospel. If you’re unfamiliar with her work, you won’t want to miss Sunny War perform on the BGS Stage on Saturday. Her right hand is confounding and inspiring, an often textural and tone-setting device in her bigger sounding recent songs that combine punk, blues, indie and more. Not to be missed! 

Hailey Whitters – Main Stage

It’s no secret BGS loves some good country. Hailey Whitters is certainly some of the best to come out of Music Row in recent memory, releasing radio-ready bops that are fun and exuberant, yes, but also have a rich and subversive well of influences, content and production styles. That Whitters is connected with all the best pickers and singers in Nashville and has a penchant for bluegrass are nice little details to remember about this TikTok phenom. Worth a mosey to the main stage on Sunday, certainly!

 

The Bluegrass Situation Stage – Daily Schedule

Thursday, September 14

5:45 p.m. – Kelsey Waldon
4:15 p.m. – Michael Cleveland & Flamekeeper
3 p.m. – Two Runner
1:45 p.m. – Clay Street Unit
12:30 p.m. – Myron Elkins

Friday, September 15

5:45 p.m. – The Lil’ Smokies
4:15 p.m. – The Cleverlys
3 p.m. – Twisted Pine
1:45 p.m. – Lola Kirke
12:30 p.m. – Armchair Boogie

Saturday, September 16

5:45 p.m. – Town Mountain
4:15 p.m. – Della Mae
3 p.m. – Lindsay Lou
1:45 p.m. – Sunny War
12:30 p.m. – Armchair Boogie

Sunday, September 17

5:45 p.m. – Dan Tyminski
4:15 p.m. – Frank Solivan & Dirty Kitchen
3 p.m. – The Arcadian Wild
1:45 p.m.- Lindsay Lou
12:30 p.m. – Pixie & The Partygrass Boys

Purchase your Bourbon & Beyond tickets here.