Basic Folk – Alice Howe & Freebo

Tracking with her brand, “an old soul inside a 30-something millennial,” Alice Howe’s latest was recorded at FAME Studios in Muscle Shoals, AL. Although the legendary studio has seen massive icons like Aretha Franklin, Wilson Pickett and Etta James recording their biggest hits, the building itself is quite unremarkable. Regardless, Alice was able to soak up the incredible vibe that ugly wood-paneled space offers over the course of the recording sessions, which was done in two parts. Freebo, her frequent collaborator and bassist, helmed the production and joined us for this interview. The two gave some insight into the way they communicate and how that works itself out in a studio setting.

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We dig into some of the songs on the new record Circumstance, including “What About You,” which comes along with a music video featuring some very playful sides of Alice, including some very femme scenes of her at the pool and on the beach. We got into an interesting discussion of different ways women portray themselves in music, using Bonnie Raitt and Linda Ronstadt prototypes. Not sure if we reached a consensus, but I enjoyed getting into it! We also get into how Freebo is a goofball AND a cool-guy scholar and how those traits translate into his and into Alice’s music. And we leave some space for Alice and Freebo to fawn all over Freebo’s former collaborator, Bonnie Raitt, and her recent Song of the Year award at the 2023 Grammys. It’s always so fun to talk to Alice (who was also on episode 72!) and we have a doubly good time with Freebo. Enjoy!


Photo Credit: Jim Shea

Brandi Carlile, Keb’ Mo’, Molly Tuttle Receive Grammy Award Nominations

Brandi Carlile, Alison Krauss, Keb’ Mo, Bonnie Raitt and Molly Tuttle are among the roots artists receiving nominations for the 65th Annual Grammy Awards, to be presented on February 5 on CBS.

Carlile’s In These Silent Days will compete for Album of the Year and Best Americana Album. In addition, “You and Me on the Rock” (featuring Lucius) is nominated for Record of the Year, Best Americana Performance, and Best American Roots Song, while “Broken Horses” is on the ballot for Best Rock Performance and Best Rock Song.

Krauss and Robert Plant share nominations for Best Country Duo/Group Performance (“Going Where the Lonely Go”) and Best Americana Album (Raise the Roof). In addition, the composition “High and Lonesome” earned Plant and co-writer T Bone Burnett a Best American Roots Song nomination.

Keb’ Mo’ returns to the ballot in the category of Best Americana Album with Good to Be…. His 2019 album, Oklahoma, is a past winner in the category. (Read our BGS interview with Keb’ Mo’.)

Bonnie Raitt’s “Just Like That,” which she wrote, is nominated for Song of the Year and Best American Roots Song. Another of Raitt’s recordings, “Made Up Mind,” is nominated for Best Americana Performance. Her album Just Like That… is up for Best Americana Album.

In a rarity for bluegrass artists, Molly Tuttle secured a high-profile Best New Artist nomination in addition to a placement in the Best Bluegrass Album category (for Molly Tuttle & Golden Highway’s Crooked Tree). Read our BGS interview with Molly Tuttle.)

Other artists nominated in multiple categories include Madison Cunningham, Willie Nelson, Aoife O’Donovan, and Dolly Parton. A selection of American Roots Music nominations are listed below. See the full list of nominations.

Best American Roots Performance

“Someday It’ll All Make Sense (Bluegrass Version)”
Bill Anderson Featuring Dolly Parton

“Life According to Raechel”
Madison Cunningham

“Oh Betty”
Fantastic Negrito

“Stompin’ Ground”
Aaron Neville With The Dirty Dozen Brass Band

“Prodigal Daughter”
Aoife O’Donovan & Allison Russell


Best Americana Performance

“Silver Moon [A Tribute to Michael Nesmith]”
Eric Alexandrakis

“There You Go Again”
Asleep at the Wheel Featuring Lyle Lovett

“The Message”
Blind Boys of Alabama Featuring Black Violin

“You and Me on the Rock”
Brandi Carlile Featuring Lucius

“Made Up Mind”
Bonnie Raitt


Best American Roots Song

“Bright Star”
Anaïs Mitchell, songwriter (recorded by Anaïs Mitchell)

“Forever”
Sheryl Crow & Jeff Trott, songwriters (recorded by Sheryl Crow)

“High and Lonesome”
T Bone Burnett & Robert Plant, songwriters (recorded by Robert Plant & Alison Krauss)

“Just Like That”
Bonnie Raitt, songwriter (recorded by Bonnie Raitt)

“Prodigal Daughter”
Tim O’Brien & Aoife O’Donovan, songwriters (recorded by Aoife O’Donovan & Allison Russell)

“You and Me on the Rock”
Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (recorded by Brandi Carlile Featuring Lucius)


Best Americana Album

In These Silent Days
Brandi Carlile

Things Happen That Way
Dr. John

Good To Be…
Keb’ Mo’

Raise the Roof
Robert Plant & Alison Krauss

Just Like That…
Bonnie Raitt


Best Bluegrass Album

Toward the Fray
The Infamous Stringdusters

Almost Proud
The Del McCoury Band

Calling You From My Mountain
Peter Rowan

Crooked Tree
Molly Tuttle & Golden Highway

Get Yourself Outside
Yonder Mountain String Band


Best Traditional Blues Album

Heavy Load Blues
Gov’t Mule

The Blues Don’t Lie
Buddy Guy

Get On Board
Taj Mahal & Ry Cooder

The Sun Is Shining Down
John Mayall

Mississippi Son
Charlie Musselwhite


Best Contemporary Blues Album

Done Come Too Far
Shemekia Copeland

Crown
Eric Gales

Bloodline Maintenance
Ben Harper

Set Sail
North Mississippi Allstars

Brother Johnny
Edgar Winter


Best Folk Album

Spellbound
Judy Collins

Revealer
Madison Cunningham

The Light at the End of the Line
Janis Ian

Age of Apathy
Aoife O’Donovan

Hell on Church Street
Punch Brothers


Best Regional Roots Music Album

Full Circle
Sean Ardoin And Kreole Rock And Soul Featuring LSU Golden Band From Tigerland

Natalie Noelani
Natalie Ai Kamauu

Halau Hula Keali’i O Nalani – Live at the Getty Center
Halau Hula Keali’i O Nalani

Lucky Man
Nathan & The Zydeco Cha Chas

Live at the 2022 New Orleans Jazz & Heritage Festival
Ranky Tanky


Photo Credit: Pamela Neal (Brandi Carlile); Jeremy_Cowart (Keb’ Mo’); Samantha Muljat (Molly Tuttle)

BGS 5+5: Janiva Magness

Artist: Janiva Magness
Hometown: Detroit, Michigan
Latest Album: Hard to Kill (Fathead Records)
Personal Nicknames: J

Which artist has influenced you the most … and how?

Truthfully, it is impossible to choose one because there have been so many over the course of my career. And I am a homework kind of person, so my habits are when I do find someone I am deeply moved by, I study them and THEIR influences. So I see it as generations of artists all kinda influencing each other. For example, Bonnie Raitt at certain point early on was a huge influence for me, not just in her music, but in the fact that she was a female bandleader who musically has ALWAYS done what she wanted and refused to be one-dimensional. I love that and it was super empowering for a young girl and young woman to see and hear. And her early blues influences and songwriter influences and friends are all very important for me — Sippie Wallace to Lightnin’ Hopkins to Son House to John Prine!

Otis Rush was another one, for his playing and singing and no-holds-barred approach to both. I was a 14-year-old kid the first time I saw him live. It was truly a spiritual experience for me. B.B. King similarly, who had heavy gospel influences in his singing, whom I saw the same year… what a great year! I was in my early 20s the first time I saw what we used to call a “Three-Way” — James Brown, Martha Reeves and Etta James. Etta’s greatest influence was Johnny “Guitar” Watson and gospel music! Etta was the opener on that show and her performance alone was like four years of college education in one show! She sang and held that stage as if her life depended on it — and I believed her! Another profound lesson in “this is how it’s done.” Priceless.

What has been the best advice you’ve received in your career so far?

I was advised pretty early on that I needed to have control of my own instrument. Especially if I wanted to make sure I could do my job to the best of my ability. That means taking care of my instrument so I can sing and carry the story of the song with ease, so I can connect with the audience. It also means not abusing my voice. Doing warm-ups and all the disciplines singers have to do to keep in good form. Secondarily, if I expected the other musicians to bring their best, I had better bring mine! All the great vocalists I admire have full command of their instruments and their bandstands. It is too difficult to get respect otherwise.

Also to keep my personal life off the bandstand (with the players). Super important for me. Now that doesn’t mean I can’t put whatever is happening with me personally INTO the music. I think that IS right to do, at least for me. But romance on the bandstand/within the band is trouble — it always has been for me so I had to quit that practice and it has served me well!

In terms of songwriting advice, the best advice I have gotten is to keep writing, writing, writing and then edit, edit, edit! Asking myself how can I say it truthfully with fewer words? That is easier said than done for me. Sometimes it’s real hard work but always worth it!

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

I always do vocal warm-ups — 15 to 20 minutes with a recording of my vocal coach and steam for my voice. Super helpful. It allows me the flexibility I need with my instrument. I will eat high-protein food one to two hours before having to sing. It’s pretty much like a holy time for me. I just stop all the “outside world” distractions and B.S. and focus on the music. It’s wonderful and sets me up for the right kind of focus before singing. I also cut off the phone calls/texts/emails during that time for basically the same reason. “Don’t bother me, I’m singing!!”

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

I always struggle with songwriting. Maybe it’s part of the ritual for me. I don’t know… But when my first marriage ended, it was a pretty brutal time, understandably. Gary Nicholson, who is a good friend, told me, “You’re gonna get some good songs outta this…” “Ugh,” I thought, but he was right! Writing the songs for my 2014 release, Original, was hard, particularly the song “When You Were My King.” I was not yet divorced but in that purgatory state of separation-knowing-its-dead-but-not-done-yet. I suppose because the song articulates that very moment of the cut, when it is undeniably clear the marriage is over and time actually stands still. You see all of it. The love. The regrets. The wishes and the sorrow. You can’t take any of it back. That song is a Polaroid of that brutal, poignant moment. I am wildly grateful for my co-writers Andrew Lowden, Lauren Bliss and Dave Darling, for their delicate touch with me during such a difficult time — which allowed that time to also be wildly creative, and Original was born!

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

I don’t really see it as hiding. I think of it more as how to get the story across. I want to be sure to get the meat of the story across when writing — right? SO is that best articulated as ”you” or “me”…? That’s all. At the end of the day, it’s all me anyway if I am writing on it, or singing someone else’s songs trying to bring myself to the story. I do think of it as becoming the character in the song or the storyteller, if you will. But if I am covering someone else’s material, I am doing so because I deeply connect with the tale being told, I mean it’s personal to me. If it’s not, I don’t have the first desire to sing it because I think the real job is about connection. For that to happen, it has to be real or the audience can tell, that is my experience.


Photo Credit: Jay Gilbert

BGS 5+5: Fortunate Ones

Artist: Fortunate Ones
Personal Nicknames: Angie/Cathy
Rejected band names: Barb Dylan, The Rollings Tones, The Whom

Which artist has influenced you the most … and how?

Jackson Browne looms large in my musical journey. His work has been a part of my life for as long as I can remember. When I was a kid, my mother and aunt would take my brother and me on road trips and we’d spend hours listening and re-listening to a mixed tape that included “Running on Empty,” “The Load Out,” “These Days,” “Rosie,” “Somebody’s Baby” … long before I was listening critically, his music resonated with me in a deep and lasting way. Beautiful melodies, smooth voice, fantastic piano and guitar playing. I was hooked. Later he became a significant influence for me as a songwriter. His unashamed approach to mining the human condition is courageous and nuanced and I admire how deep he’s willing to go into his own lived experience to explore what it is to be flawed and fallible as a complex human being. He’s got a beautiful sense of imagery but is still able to maintain an every-person perspective that allows the listener to be gifted his insights rather than having to work for guts of the song. — Andrew James O’Brien

What’s your favorite memory from being on stage?

Getting to open for Alan Doyle at Massey Hall was a real trip for us. Massey was number one on our bucket list, so when Alan asked us to join him in February 2018, we were so excited. Massey is the Carnegie Hall or Ryman of the North. It’s sacred and hallowed ground where many of the world’s greatest have performed. Some family flew up to Toronto for the show and on the day of, got to come and tour the space, get pictures on stage and soak it all in. It was incredible. At the end of our set we got a thunderous standing ovation which, we were told, was quite rare for an opening act in that room. We were absolutely over the moon.

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

When I was in grade nine, I got a keyboard and set it up in my room. I started quietly playing covers — Bonnie Raitt, The Beatles. At the time, I was too nervous to sing in front of anyone but tucked away in my room, I realized that nothing gave me the feeling of joy that singing did. Back then it never occurred to me for a second that singing could or would become a career option but years later, in 2012, Amelia Curran asked me to join her on tour supporting her Spectators record. I saw for the first time what a career as a touring musician looked like, got to feel the positive response from large crowds, and learned what it was to live that life. This realization was the catalyst that gave me the confidence to invest in and pursue my own career. — Catherine Allan

What has been the best advice you’ve received in your career so far?

We’ve been fortunate to have many wonderful mentors and friends over the years and have been the benefactors of countless words of wisdom. A piece of advice that always rings true and transcends career is to live life with a grateful heart. No one is obligated to like what we put into the world and in that way it’s an absolute privilege that it’s resonating with people. In the tough moments, it’s grounding to come back to the thought that we get to make a life writing and performing music.

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

I’ve always admired the songwriters who can create a world or character outside of their own. My favourite example is the unofficial poet laureate of Newfoundland, Ron Hynes. Ron had an unparalleled ability to create incredibly complex characters and situations that felt so immensely personal, you felt as though you were looking into worlds as a voyeur who shouldn’t be in on the secret. We, however, are not that kind of writer. The songs we create are autobiographical and serve as an outlet to find place, meaning, comfort, solace, understanding and purpose in our lives. If our songs are relatable it’s because they’re written about true to form, lived experience. — Andrew James O’Brien


Photo Credit: Adam Hefferman

BGS 5+5: Matt Andersen

Artist: Matt Andersen
Hometown: Perth-Andover, New Brunswick, Canada
Latest Album: House to House
Nicknames or Rejected Band Names: No nicknames, none that I’m aware of anyway… No real rejected band names either. The first band I was in was called Stubbyfingers. Loved that name and loved the people I played with.

What’s your favorite memory from being on stage?

It was my second tour with Stuart McLean and The Vinyl Cafe. We were making our way across Canada playing all of our largest cities as part of his annual Christmas tour. As the tour was coming to an end, I was lamenting to Stuart how I really wished that my parents would be able to catch the show, but didn’t see it happening as my dad had never been in a plane, and wasn’t keen to ever be in one. We had two shows coming up in Ottawa at the National Arts Centre, a venue that holds around 2,500 people. After passing the phone to Stuart during a call home to my folks one night before a show, he convinced my dad to get on the flight and come see me play. On show day at soundcheck, we got my mum up on stage to sing a song with the band. After seeing that, Stuart decided he’d surprise mum and get her up to sing during the show. Standing beside my mum in that room in front of a sold-out crowd was, and still is one of my favourite moments. It was a beautiful melding of where I came from and where I was.

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

Not so much of a ritual, but more of a headspace I like to get in. I love having a quiet room to myself a good 15 or 20 minutes before a show. No distractions or decisions, just a space of time before I hit the stage. If there is an opener on the bill I’ll pop out to check out a song and see if I can get a sense for the energy in the room. If I’m the opener I’ll stick my head out and have a listen to the crowd as they come in. I can often get a feel for them just by listening to the bustle as they get themselves situated. Other than that, I change my strings before every show. More of a necessity than a ritual, but I sometimes feel like that’s my equivalent of a morning coffee before stepping into the office.

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

If I try to enjoy a meal and a performance at the same time I find it takes away from both experiences for me. I’m too caught up in the music to really focus on the food that has been prepared and I end up missing the subtle nuances of a song when my head is down searching for the best approach to my plate. For me, the best pairing would be Bonnie Raitt with just her voice and a guitar in a room that is just slightly too warm and small enough that I could hear her voice as much off the stage as I could through the speakers. A generous pour of a peaty scotch would be the perfect accompaniment. After the show… steak and eggs.

What has been the best advice you’ve received in your career so far?

“Always be the worst musician in your band.” A friend/bandmate told me this years ago when I first started going out on my own. I’m not sure if it’s something that he learned himself, or if it’s a wisdom that was passed down to him. I’ve always surrounded myself with musicians that I have to work to keep up with, musicians that inspire and challenge me. It’s a comfort to be on a stage and know that the only person I need to worry about making a mistake is myself.

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

Music was something I just grew up with. My grandfather was a big influence, as well as my mother. Many other family members played and folks in the community. Whenever there was a gathering at the house, there was music. It was something I did more to fit in and be a part of the family than anything. I never really thought about being a musician. Music has always been there for me. I do recall however the day that I decided to take a swing playing music full time. I’d been gigging on weekends while working through the week at a factory making frozen dinners and fruit pies. One day they called me into the office and gave me the option of putting on a beard net or shaving my sideburns. I gave them my two weeks’ notice.


Photo Credit: Scott Doubt

BGS 5+5: Danielia Cotton

Artist: Danielia Cotton
Hometown: Hopewell, New Jersey; now New York City
Latest Album: Good Day (out March 18)

Which elements of nature do you spend the most time with and how do those impact your work?

I live in New York City and just being outside with my headphones on listening to a great song is so powerful. Walking in the city that never sleeps with a great soundtrack in your ears can almost always lead to moments of inspiration and pleasure. Many times I have taken a run on the West Side Highway in downtown Manhattan and I come home and go straight to the piano or my guitar and begin a new piece. It is always tough to write when one is uninspired. There are times you can push through, others when you put the instrument down and either find inspiration in existing music or art you like, or simply wait it out until you are struck with a spark of lyric or melody that leads you somewhere substantive.

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

Right after one of my first solo performances at a “Save the Delaware” benefit in New Jersey. I had just learned to play acoustic guitar and I performed my three-chord song. It was the scariest yet one of the most exhilarating moments ever.

Which artist has influenced you the most … and how?

There is no one artist for me that encapsulates all that has influenced me. My sound has always been a bit eclectic so I pull from a few different musical genres. As far as rock goes, two huge influences are The Rolling Stones and Led Zeppelin. The Stones are soulful storytellers with serious grooves. Zeppelin for me has a depth that hit me when I was young and feeling displaced that took me somewhere else. Robert Plant’s voice was incredible at that time and his range was inspiring. When it comes to soul, I would include in my top three: Prince, Stevie Wonder and Sly and The Family Stone. Prince and Sly meshed rock and soul in a way that spoke to me as rock music sounded the way I felt. Stevie Wonder was deep. To this day Songs in The Key of Life inspires my soul, my musical theoretical side and my heart.

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

There was a literary critic about a hundred years ago who was asked to define what is a great work of art, and that critic said, “It’s whatever adds to the available stock of reality.” To the extent that my career might mean creating something that becomes part, however small, of someone’s memory, someone’s sense of peace, someone’s sense of solace, or someone’s sense of joy. I guess that’s my mission statement.

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

I almost never hide behind a character when writing a song. I generally write in first person as the honesty in performance is crucial for me as I try to take the audience to a real place. If I can’t find myself in the story or some way to personalize it, my ability to really connect with my audience becomes incredibly difficult. I am not a fan of faking it.


Photo Credit: Chia Messina

BGS 5+5: Sam Outlaw

Artist: Sam Outlaw
Hometown: Nashville, Tennessee
Newest Album: Popular Mechanics

What’s your favorite memory from being on stage?

I had the privilege of performing at Glenn Frey’s tribute show at the Troubadour in 2016, shortly after he passed away. Before the show, all the performers were rehearsing the finale on stage — an ensemble performance of the Eagles’ hit, “Lyin’ Eyes.” There were a bunch of incredible artists singing the song, including Bonnie Raitt, who is one of my musical idols. At some point during the rehearsal, Bonnie leaned over to me and said, “You have a really nice voice.” I was totally stunned by the compliment and will never forget it.

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

Books and movies. The song “Polyamorous” was inspired by a book called The Secret History of Wonder Woman, about the true story love triangle that created the Wonder Woman comics. I also think a lot of my love of ’80s pop music is from watching ’80s movies as a kid: Top Gun, Back to the Future, Robin Hood: Prince of Thieves, etc.

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

“Polyamorous” was a real challenge because I wanted to be accurate to the story that inspired the song and empathetic to the challenges those three people faced. The song also has a built-in technical hurdle: There are not a lot of words that rhyme with ‘polyamorous,’ haha.

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

“Be yourself and make art for yourself.” It’s always nice when people like what you do, but if you chase approval from others you’ll lose the joy of creation, even if you’re making a bunch of money.

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

I’m not entirely sure if you’re referring to an actual meal with a soundtrack playing in the background or having a meal with a musician, so I’ll just answer both — I’m a huge fan of the Irish singer, Enya. Her music is so distinct from anything else and her voice is unmistakable. I’d love to have a proper Celtic meal (maybe smoked salmon?) with some good wine and Enya’s 1995 masterpiece, The Memory of Trees, playing in the background. If this question is about who I’d like to have a meal with, then the answer is, of course, Enya. She’s famously reclusive, and I’d be fine just sitting in silence in her castle, hanging out with her and her cats.


Photo Credit: Robby Klein

The Show On The Road – Amy Helm

This week, The Show On The Road places a call into Woodstock, NY, where we speak to a respected singer, songwriter, and sometimes drummer Amy Helm, beloved daughter of Levon Helm of The Band.

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Growing up in the home of two working performers (her mother is singer Libby Titus, who wrote songs covered by Bonnie Raitt and Linda Ronstadt) wasn’t always the easiest for the introspective Helm, but it gave her a fertile proving ground to begin exploring creating her own soaring songs in the folk, blues, and soul traditions. She waited until she was forty-four to release her acclaimed first solo record, Didn’t It Rain, with her father lending his signature earthy drums on several tracks — and this year, she teamed up with multi-instrumentalist and producer Josh Kaufman (Taylor Swift, Bonny Light Horseman) to create What The Flood Leaves Behind, her most emotive and lushly-realized project yet.

With her dogs often joining the conversation from her upstate home, Helm dives into her early years trying her hand at singing in New York City cafes, having folks walk out of her folk fest shows because her band was too loud, founding the band Ollabelle, joining her stepdad Donald Fagen’s group Steely Dan onstage, backing up legends like Stax soul artist William Bell and finally reconnecting with her dad in her mid-thirties as he began his late life renaissance, hosting his epic Americana throwdowns called “The Midnight Rambles.” It was being a member of that crack “ramble band” that gave Amy the final push to pursue her own lead voice.

While Levon famously struggled with heroine addiction and the foibles of post-Bob Dylan and The Band fame fallout, it was when he got clean and took Amy under his wing that both of their stars began to rise again. You can hear Amy singing on his gorgeous return in 2017’s Dirt Farmer. Becoming more ambitious, Amy laid down her upbeat rock-n-soul-tinged second album with producer Joe Henry in LA with notable players like Doyle Bramhall II, Tyler Chester, and a vocal choir of Allison Russell and JT Nero (Birds of Chicago) and Adam Minkoff. This Too Shall Light was released in 2018 on Yep Roc Records and Amy began to be recognized as one of the most powerful singers touring the Americana circuit. Her newest record was recorded at her spiritual home, Levon Helm Studios, where each ramble still takes place on the weekends.

During the pandemic, Helm had a unique idea to keep her creative muscles strong, even when live music gatherings were not technically allowed in public. She began setting up “curbside concerts” for her friends and any curious fans who missed her songs, touring around Woodstock with her guitar, bringing a little joy to her shut-in listeners during New York’s darkest hours.

Stick around to the end of the episode to hear Helm introduce the spiritual opening track of What The Flood Leaves Behind, “Verse 23.”


Photo credit: Ebru Yildiz

BGS 5+5: Abby Hollander Band

Artist: Abby Hollander Band
Hometown: Brooklyn, New York
Latest Album: Letters

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

I’ve always been a musician. Growing up in Woodstock, New York, with musician parents, brother, friends, it was just a natural part of life, the expression of self through song. I started picking out cartoon theme songs on the piano when I was 4, and kept learning and playing from there. By high school I’d sit in with my parents at their gigs, and I first did my own gigs (singing in a jazz trio) by college. It wasn’t until after I’d graduated with a BA in theater that I realized in order to be an actor you have to audition; but to be a musician, you just have to play.

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

My training as an actor has had a big impact on my music, especially when it comes to performance. When acting, you’re taught to always be in the moment, and that despite knowing what words you’re going to say you never know exactly how they’re going to come out, because you’re listening and reacting to what’s going on around you. That’s something I’ve tried to take with me into my music… even if I’m singing the same words or the same melody, a song doesn’t become stagnant because each time it’s sung, it’s being informed by the present moment. I also try to transport myself to the circumstances of the songs as I sing them. For example, “Still Got It Bad,” a John Herald song on this new album, is a heartbreaking story about never getting over an old love. That’s not my reality, but the way he wrote the lyrics is so relatable and so true that it puts me in a place where I can sing it honestly.

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

Actually, I’ve found myself writing too many first-person songs! When I was writing “Back When We Could’ve Been In Love,” I decided to turn it into a character and started saying “she” instead of “me.” It’s really still about me though probably. And now you know!

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

I try to be really dedicated about taking care of my voice, and that’s especially true leading up to a recording or show. Right after we released our first album, in 2015, I was diagnosed with polyps on my vocal folds. My voice didn’t sound like me, and I got hoarse after singing even just a few songs. I eventually had surgery to remove them, and through voice therapy I’ve learned how to take better care of my voice. I even went back to school to become a speech-language pathologist so I could work as a voice therapist and help others avoid these problems. It was an incredibly scary time (it’s what the song “Eyes of Loss” is about), and so these days I’m much more diligent about keeping my voice in good shape. That involves frequent warm-ups, vocal exercises, and being mindful not only when I’m singing but also speaking.

What’s your favorite memory from being on stage?

I don’t have one specific favorite memory, but every time I’m on stage and I’m singing with friends, or even strangers, if there’s a tight harmony that clicks in the right way I feel this current, this electric charge of life and joy, and that’s what it’s about for me.


Photo credit: Justin Camerer

Somewhere Out There, These 9 Songs from Cartoons Stand on Their Own

Adults who have happened to spend any amount of time watching children’s TV and cartoons – say Winnie the Pooh, or Looney Tunes, or The Amazing World of Gumball – know that plenty of jokes and gags aren’t written for the kids tuning in at all. Certainly the same fact is true of many soundtracks and scores. Originally intended for younger audiences, these nine songs from popular cartoons supersede their animated film origins. Some have gone on to become modern classics, others popular karaoke anthems, Americana covers, and even a drag queen number or two. No matter the context, each of these songs stands on their own.

Bonnie Raitt: “Will the Sun Ever Shine Again,” Home On the Range

A ragtag group of livestock must save their family farm, “Patch of Heaven,” from a thieving-cowboy-would-be-rancher-and-real-estate-magnate. Along their journey, quite a few problems arise for the cows and crew, and right when you realize all hope is lost, Bonnie Raitt’s voice comes wafting on the Western wind. A nearly perfect, succinct package at 2:30 long, “Will the Sun Ever Shine Again” deserves a spot in the modern country canon. Instead, it’s nearly hidden away on this 2004 Disney release.


Linda Ronstadt: “Somewhere Out There,” An American Tail

Immigrant mice find themselves journeying to America in this 1986 Steven Spielberg-produced classic cartoon, which was so popular a sequel was released in 1991. (Hear a track from its soundtrack later in this list.) The main character Fievel’s sister, Tonya, has designs on starhood, singing “Somewhere Out There” exquisitely and mournfully — and apparently poorly by mouse standards. But her family uses the tomatoes flung at her for dinner. Linda Ronstadt reprises the track on the soundtrack, belting the epic arrangement as only she can.


Randy Newman: “You’ve Got a Friend in Me,” Toy Story

Randy Newman’s soundtrack offerings for all of the Toy Story movies epitomize the central concept of this list: Songs that are just good, whether they’re from an animated film or not. Other soundtracks from the franchise feature Riders in the Sky, Sarah McLachlan, Judas Priest, and Chris Stapleton. All are fantastic, but “You’ve Got a Friend in Me” is certainly the piece de resistance.


Shelby Flint: “Someone’s Waiting for You,” The Rescuers

A haunting, morose, nightmarish — and hilariously entertaining — tale of an orphan kidnapped by treasure hunters, The Rescuers follows two mice from the Rescue Aid Society as they join an albatross to attempt… well, a rescue. “Someone’s Waiting for You” captures the melancholy of loneliness and isolation so well, with a tinge of solemn hope. The classic Disney animation style and southern bayou setting are simply gorgeous and the Golden Age of Hollywood orchestration is decadently nostalgic.


Helen Reddy & Sean Marshall: “It’s Not Easy,” Pete’s Dragon

A groundbreaking film for its time, 1977’s Pete’s Dragon combined live action and animation — so we’re sneaking it onto this list on that technicality. Another song from the film, “Candle on the Water,” was nominated for an Academy Award for Best Original Song, but “It’s Not Easy” might be the movie’s best. Helen Reddy, who passed away in September of 2020, had multiple Top 10 hits in adult contemporary and pop. Her performance — on this song and throughout the film — certainly sell it.


Bryan Adams: “Get Off of My Back,” Spirit: Stallion of the Cimarron

Spirit: Stallion of the Cimarron was one of the first feature-length animated films to effectively and seamlessly combine traditional animation with more modern, computer-generated 3D animation. It’s a hugely popular film, but somehow still grossly underrated, and Bryan Adams’ deliciously early 2000s soundtrack is still impeccable. Several songs could’ve made the cut for this list, but we’ve gone with the high-energy, joyfully defiant “Get Off of My Back.”


Lea Salonga: “Reflection,” Mulan

A ballad and anthem that’s something of a queer rite of passage for Disney millennials: “If I were truly to be myself/ I would break my family’s heart….” This rendition of “Reflection” is a rare instance of the score version being better than the credits version. (No shade to Christina Aguilera.) Lea Salonga so relatably embodies Mulan’s longing to live her truth. Just try not to sob-shout along.


Whitney Houston & Mariah Carey: “When You Believe,” The Prince of Egypt

All epic cartoon powerhouse ballad duets must be second to this one, a smash hit from Dreamworks Picture’s The Prince of Egypt. How blessed are we to have Whitney and Mariah trading runs on this loosely Bible-themed melodrama-via-song? If you didn’t start out at the beginning of the song as a believer in miracles, by the end you will. “When You Believe” reached number 13 on Billboard’s Hot 100 chart and was released by Carey on her Number 1’s compilation album.


Linda Ronstadt: “Dreams to Dream,” An American Tail: Fievel Goes West

We simply had to include Linda Ronstadt — and the An American Tail franchise — twice. “Dreams to Dream,” another credits reprise by Ronstadt, nearly blows the doors off “Somewhere Out There” with its soaring modulations and Ronstadt pulling out all of the stops. How one voice, one woman, could out-power an entire orchestra and rock band combined defies reason. Except, with Linda, that level of energy, charisma, and raw presence is the norm rather than the exception. Try to listen through to this song just once. It almost begs being played on repeat.