Although in-person plans for Americanafest are on hold this year, fans of roots music can still take part in celebrating the music, no matter where they are.
From September 16th to the 18th, Thriving Roots: A Virtual Community Music Conference will host intimate conversations between pairings you won’t find anywhere else.
In August, the Americana Music Association Foundation (AMAF) revealed programming featuring director Judd Apatow in conversation with The Avett Brothers; Bob Weir with Oteil Burbridge; Béla Fleck with Sierra Hull; and Sarah Jarosz with John Leventhal and Chris Thile. The latest programming information also includes talks on empowering today’s creatives, developing streaming strategies and musicians in recovery.
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Apatow will sit down with The Avett Brothers to discuss the intersection of film and music, as well as the fine line between fine art and commerce. In 2017, Apatow co-directed the band’s critically acclaimed documentary, May It Last: A Portrait of The Avett Brothers. Since then, The Avett Brothers have released their new album, The Third Gleam.
The music that fans know and love from their favorite artists simply wouldn’t exist without the innovative musicians who came before them. Weir will sit down with fellow Dead & Company member Burbridge as they explore the inspirations and influence Black musicians have had on the Grateful Dead.
Now more than ever, musicians continue to push and blur the confines of genres to create the art they want to make. Fleck and Hull will speak to how roots music transcends and connects with a wide range of audiences during “Music Without Boundaries.” When it comes to creating that art in the studio, a producer’s ability to understand an artist’s vision is an integral part of the creative process. Moderated by Thile, Jarosz and Leventhal will delve into the connections forged between the artist and producer evident on her latest project, World on the Ground.
Additional new programming includes “Independent Control: The Power of Collaboration,” an inside look into how Americana industry professionals are empowering their independent artists to retain full creative control and the benefits of assembling a hand-picked team. Moderated by Jessica Nicholls (Metropolitan Groove Merchants), this discussion will include Blair Clark (Brooklyn Basement Records), Maria Ivey (IVPR) and Michelle Szeto (Paquin Entertainment Group).
In the streaming era, an abundance of digital resources can be found at the fingertips of industry and artist professionals, but how does one optimize those helpful tools? Led by Mike Fabio (New West Records), “Building a Streaming Strategy in 2020” rounds up Charles Alexander (Systemic), Margaret Hart (YouTube), Margaret Jacobi Lee (AMFM Management), Laura Ohls (Spotify) and Amy Wright (DittyTV) for a talk on developing real-world strategies that lead to increasing listenership and growing a solid fanbase.
Presented by Promises Behavioral Health, “The Show Must Go On: Musicians in Recovery” will find artists Phil Bogard and Jaime Wyatt in conversation with Shireen Janti (MusiCares) and Shane Ramer (That Sober Guy Podcast) about the road to recovery while offering how to find treatment and how others can take practical steps toward becoming a sober creator.
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Previously announced Thriving Roots programming includes intimate conversations between Brandi Carlile and Yola; Emmylou Harris and Ken Burns; and Jackson Browne and Mavis Staples. Rosanne Cash will bring together Ry Cooder, Angela Davis, Bonnie Raitt and Alice Randall for “Love and Vigilance,” a look at the history of protest music.
Moreover, RIAA Chairman/CEO Mitch Glazier and COO Michele Ballalynte will share an update on the music industry during “Record Setting” while looking at current trends and sharing their outlook. There will also be artist-friendly songwriting workshops and case studies like Mary Gauthier’s “Accessing the Universal in Your Songs: Mercy Now,” Taj Mahal’s “Music Is the Healing Voice” and an artist development breakdown with Black Pumas.
With over 50 panel discussions and more than 40 special events filled with music, Thriving Roots will bring the Americana music community together from across the world for three full days of engaging insight from its top industry professionals and leading artists.
Adding to the slate of artist conversations music fans won’t want to miss is Linda Ronstadt offering a behind-the-scenes look at Linda and the Mockingbirds, a new documentary that chronicles her 2019 journey with Jackson Browne and Mexican-American song and dance troupe Los Cenzontles to her grandfather’s hometown in Mexico, resulting in a tale of immigration, family and music. Moderated by esteemed journalist Randy Lewis, attendees will be able to watch the film screening and hear insight from the musical icon alongside the doc’s producer/director James Keach and Los Cenzontles founder Eugene Rodriguez.
The Lumineers’ Jeremiah Fraites and Wesley Schultz will sit down with renowned filmmaker M. Night Shyamalan for an engaging discussion on the importance of retaining creative control of your art. In addition, Kathleen Edwards will speak with acclaimed Program Director Rita Houston (WFUV) about her new album Total Freedom, which marks her triumphant return to music after an eight-year hiatus from the business.
The common threads and differences of the Americana and country music worlds will be explored during “Ladies, Your Roots Are Showing,” presented by Change the Conversation. Moderated by CTC co-founder Tracy Gershon with freelance music journalist Marissa Moss, this panel session rounds up Brandy Clark, Tanya Tucker and Lee Ann Womack to share how they’ve been able to successfully navigate both worlds while maintaining their artistic integrity. They’ll also reveal the challenges and memorable moments they’ve experienced during their respective careers.
Reigning Legacy of Americana Award (co-presented by the Americana Music Association and the National Museum of African American Music) recipient Rhiannon Giddens joins NPR’s Ann Powers and the legendary Taj Mahal to discuss the theme of “Music is the Healing Voice.”
Music buffs should also tune into a special virtual edition of “Songlines Music Meeting,” an Americanafest fan-favorite. Sean Coakley and Leslie Rouffé will once again invite listeners to hear mostly unreleased tunes and score them during the live session, leading to a discussion on how music programmers in various media formats select the songs they feature.
Aside from plenty of educational and networking opportunities, Thriving Roots attendees will have a chance to unwind and recharge with immersive virtual events and lifestyle breaks. Valerie June will walk folks through a guided meditation that explores how to center oneself using ancient teachings. Big Machine Label Group will spotlight The Cadillac Three, Sheryl Crow and Ray Wylie Hubbard with some must-see musical performances.
During “Aw Heck: An Oh Boy Music Break,” join the late John Prine’s own record label Oh Boy Records for a celebration of their talented roster which includes Tré Burt, Arlo McKinley, Dan Reeder and Kelsey Waldon. For “Come Hear NC,” experience the rich music of North Carolina featuring Hiss Golden Messenger, Jim Lauderdale, Mandolin Orange, Steep Canyon Rangers and more.
Pictured above in composite: Top Row (L-R): Judd Apatow, The Avett Brothers, Oteil Burbridge; Middle Row: Béla Fleck, Sierra Hull, Sarah Jarosz; Bottom Row: John Leventhal, Chris Thile, Bob Weir
‘Harmonics with Beth Behrs’ Debuts on BGS Podcast Network on September 8
The Bluegrass Situation is thrilled to announce the newest addition to the BGS Podcast Network: Harmonics With Beth Behrs. The eight-episode podcast explores the intersections of music, creativity, wellness, and healing. (Subscribe here.)
Hosted and produced by actress, comedian, and banjo lover Beth Behrs (The Neighborhood, 2 Broke Girls) each episode features a deep dive conversation into topics such as mental health, sound healing, songwriting as therapy, ancient musical traditions, and the power of the creative process on our physical bodies and emotional selves.
The first two episodes of the series premiere on Tuesday, September 8, kicking off with guests Glennon Doyle (New York Times bestselling author of Untamed) and renowned sound healer Geeta Novotny. Other featured season one guests include Brandi Carlile, Mary Gauthier, Mickey Guyton, Tichina Arnold, and Allison Russell.
Behrs says, “Songs are simple ways of telling stories, you can find a song to fit any mood you’re in. That’s because music bypasses the intellect and goes straight to the heart. I’ve always felt that healing is creative and creativity is healing. Maybe it’s magic? I want to feel closer to the magic. I want all of you to feel closer to the magic. Harmonics was born so we could explore the intersection between music, healing, creativity, and spirituality- and in doing so, makes ourselves feel a part of something bigger. Less alone. More connected.”
Amy Reitnouer Jacobs, co-founder and executive director of BGS, says, “Developing this show with Beth was a dream — we’ve wanted to do something together for a long time. During this time when we’re all refocusing our lives and constantly assessing the state of the world, creating a space where women could be honest and vulnerable about so many topics — such as maintaining creative processes under stress and maintaining mental and physical health at home — seemed more relevant and necessary than ever before. We’re honored to feature so many incredible talents from the roots music world, but I think the breadth of our guests will show our audience that so many of these themes are universal and relevant across the creative spectrum.”
BGS 5+5: Carolina Story
Artist: Carolina Story
Hometown: Nashville, Tennessee
Latest album: Dandelion (to be released September 4, 2020)
Personal nicknames (or rejected band names): Ben – Big Ben, Kingfish, Burly; Emily – Emmy, Em, Merley
Which artist has influenced you the most … and how?
This is a toss-up between Neil Young and Kurt Cobain. When I was a kid, my dad and I used to go fishing south of town from where I grew up in Arkansas. I’ll never forget the day he put CSNY’s 4 Way Street cassette into the tape deck. I was impacted by it all, but once I heard Neil do “Cowgirl in the Sand” I was hooked. I’ve been trying to play the acoustic and harmonica like him ever since. As far as Kurt goes, once I heard “Smells Like Teen Spirit” I begged my mom to get me a guitar and lessons so that I could start a band as soon as possible. – Ben
What other art forms — literature, film, dance, painting, etc. — inform your music?
If I’m feeling uninspired I will turn to any outlet that brings me a way to be creative. I have taught myself how to macrame, which is ropes tied in tedious knots to make a beautiful wall hanging. I always have canvas on hand to paint using acrylics and watercolor paper for watercolors. I love interior design and really spend a lot of time creating an aesthetic that is pleasing to the eye but also relaxing and inspiring. Most of what I find for our home is from hours of me at antique or thrift stores to find pieces that weren’t made in mass productions. Last fall I took my first pottery class and look forward to when I can sit in another class again. And most recently, I have taken an interest in woodworking. We have a pile of scrap wood and I am determined to make some sort of wood sculpture. All that to say, I would love to go to art school someday. – Emily
What was the first moment that you knew you wanted to be a musician?
In the summer of ‘97, once I had discovered Nirvana, Oasis, Stone Temple Pilots and many others, I started guitar lessons. I was 11 years old. After I had taken four or five lessons, I quit and just stayed in my room most of that summer with my ear glued to my jam box learning new songs. I took “Wonderwall” and made up all new words and played it in my 6th grade talent show and got some great applause from my peers. It was called “Another Night Downtown.” (I know, I know. What in the hell does a 6th grader know about a night downtown, much less another one?) That was definitely a defining moment for me. – Ben
Which elements of nature do you spend the most time with and how do those impact your work?
About a year ago we moved just outside of Nashville. We have about three acres of land with two small children so the outdoors has become a dear friend. We spend a lot of time outside our own home saving turtles crossing the road, burying a blue bird who looked to have fallen peacefully from the sky, or removing a snake on its way to eat bird eggs. But also just down the road from us is our family farm, Harpeth Moon Farm. We spend a lot of time there helping harvest and pack produce for the upcoming farmer’s markets or spend relaxing days canoeing down the Harpeth River. This lifestyle has helped give us some major mental clarity and to really treasure the things that matter most. – Emily
Since food and music go so well together, what is your dream pairing of a meal and a musician?
Unfortunately my ultimate meal pairing with a musician will never happen. I would have loved to have written a song with John Prine and see if we could get it finished before they ran out of meatloaf that day at Arnold’s Country Kitchen here in Nashville. But to take that a step further, the cherry on top would have been to have John and Anthony Bourdain over to my house outside of town for a Nashville Pt. 2 episode of Parts Unknown. I would have smoked an 18-hour brisket and made collard greens fresh from Harpeth Moon Farm. We would have all had one or two too many vodka and ginger ales. – Ben
Photo credit: Chrissy Nix
BGS Launches Shout & Shine Video Series with Black Harpist & Songwriter Lizzie No
Like many of us, Lizzie No is weary of quarantine. Yet as the New York City musician and harpist joins BGS on the phone to talk about her life in pandemic isolation, her songwriting, her creative processes, and the growing pains intrinsic to all of the above, the joy in her voice cracks through the fatigued outer layers we all wear right now. A Black creator in traditionally white genres, No brings a distinct and important perspective to help guide longtime BGS column Shout & Shine into a new era.
In 2017, Shout & Shine began as an interview series dedicated to exploring identity, advocacy, and marginalization, along with the ways these paradigms filter into music and art, especially of roots varieties. Taking today’s civil unrest and righteous rebellions into account, we’ve purposefully refocused this column’s mission with the hope of giving a platform to Black musicians in roots music specifically, because these spaces too often relegate Black, Brown, Indigenous, and Asian voices to the sidelines.
Now, in addition to interviews and an upcoming podcast, BGS is proud to announce Shout & Shine will be moving to video! Lizzie No is our debut guest for the livestream version of Shout & Shine, which comprises short-form, intimate video performances by underrepresented and marginalized artists in Americana, folk, and bluegrass.
Lizzie No’s Shout & Shine set, presented by Preston Thompson Guitars, will feature a brand new song, “Mourning Dove Waltz,” and will be streamed live on BGS, our YouTube channel, and Facebook page on August 5 at 4pm PT / 7pm ET. In the meantime, read a little more about No’s songwriting, her approach to roots-driven harp, and her thoughts on tokenism — and why white folks perhaps shouldn’t feel free to lead that kind of conversation.
Editor’s Note: You can watch Lizzie No’s Shout & Shine performance in full below:
Lizzie No: That’s a brand new song and I think you can tell I wrote it during quarantine. I was never terribly interested in birds before March of this year. My mom always loved and delighted in them and I always thought it was very cute, but they never captured my attention. Right as we were truly locked down here in New York and a lot of people were making the decision to try to go somewhere else, it felt like there weren’t any rules anymore. I decided to stay here in my apartment and I ended up having so many hours, especially first thing in the morning, where I would just sit and try to make the day’s activities stretch out over the longest period of time possible so I wouldn’t go insane.
That’s when I started to notice a couple of Mourning Doves had nested in my plant boxes on my balcony. It felt miraculous to get to watch them every single day through the balcony door. [They] laid two eggs, we watched them hatch, we posted about them on Instagram, we took name suggestions. It was this unfolding thing I didn’t think I cared about until I had this uninterrupted time where I didn’t need to be doing anything other than staying calm. I was pretty much on these birds’ schedule. I noticed when they took their breaks in the middle of the day and when mom and dad would switch places. Of course, this is so cheesy, but I felt a real loss when the babies grew up and flew away. As a songwriter, it led me to thinking about losing people. About losing a sense of connection. That’s what led to that song.
The harp is one of my favorite instruments, but through no fault of its own — besides maybe its complexity — it’s not common in roots genres. How did you find it, and how did you infuse it into your songwriting and artistry?
After giving up on violin as a kid [Laughs] I thought harp was one of the biggest and weirdest and coolest-looking instruments. I took lessons for all of elementary, middle, and high schools and then I hit the point in high school where friends were starting bands and I wanted to be part of it. I wanted to be able to sing and play and strum along while singing, but I didn’t play guitar and I didn’t play piano; I played harp. Basically the harp just had to catch up with my evolving interests in the Indigo Girls and Brandi Carlile. That’s where I was at when I was 16.
I didn’t really see any examples of people who were doing that — though now I know that there are. I think I saw videos of people like Joanna Newsom and Edmar Castañeda, people who weren’t playing the classical music that I was used to. Then I tried to just treat it like a bass, then trying to pick out a few chords. The motto being, “Nothing too fancy.” I wanted to get to a point where I could play and sing at the same time. That’s when I was first starting to write songs, so the skills developed together.
That’s a very kind comparison! That’s the kind of music I listen to, but it’s funny because I don’t feel like I really have any harp inspirations to my playing — which is not to say I’m not inspired by great harpists, because of course I am, but that’s not really what influences me when I’m writing songs and figuring out how the harp is going to fit into the songwriting. Someone like Béla Fleck especially, I listen to his playing a lot and those are the types of textures and rhythms that I’m hearing when I’m writing on harp. Rather than something that actually contains a harp. [Laughs]
For the remainder of the year, our Shout & Shine series will be devoted to Black artists and part of that is in response to the current rebellion against racial injustice and police brutality — and also due to the heightened awareness of how Black voices and forebears in country and roots music have been erased for so long. Do you worry about this sudden uptick in enthusiasm and awareness resulting in more tokenization of Black artists? And I have to add a quick aside, because it is intrinsically tokenizing for me to ask that question, right? It’s a hard thing to unpack, so I’d love to hear your perspective on it.
I really appreciate that and I appreciate you acknowledging that it’s difficult to talk about. Even assuming that it’s OK to have the conversation between a white person or a white journalist or a white audience or a white editor — whomever is doing the asking — and a Black artist is one of the problems. That being said, I’m happy to have it right now because I knew we were going to come into this conversation and talk about a whole bunch of topics. I’m happy to give my two cents: I think if non-Black listeners and fans and enthusiasts of the genre are thinking about [these issues], just know that those of us who deal with this day in and day out are going to be exhausted and aren’t going to be the best people to always go to. That’s a great place to start, knowing it’s so much heavier. It’s not intellectual, for us. It’s a lived reality.
That’s such a trite way of putting it, but I think a lot of people maybe subconsciously think about Black artists in Americana, in spaces where Black people are not the standard, as “diversity hires.” They may even be for that. Like, “It’s great that we have these diverse perspectives!” They don’t realize that we are a fundamental part of these spaces and we deserve to be here. Just as much as everybody else. We have roots in these geographical regions and these genres that go just as deep as white artists. We shouldn’t have to rattle off our qualifications.
There have been so many movements of Black artists who didn’t want to be called “Black artists” for this reason. They didn’t want to be put on the “Black Feminists” bookshelf and be marginalized [further] in that way. I definitely identify with that. I’m Black and I’m proud, in a very 1970s way, so I am proud to have the label of a “Black Americana artist.” I think my Blackness informs my work just as much as my hometown, my feminism, etc.
I do worry about the swingback of resentment! That anonymous message of, “OK, when are we going to be done giving these people a hand?” Meanwhile, [Black folks] have been working twice as much for all of our careers. If anyone was wondering, we’re not going to stop asking for the door to be opened and we’re not going to stop kicking the door down just because people get tired of the trends. If people are about to get sick of it, well… you can leave. [Laughs]
Lately I have been listening to mostly rock and I think it has changed how I think about my folk writing, so if I could be allowed to go a little bit outside of the genre…
I have been listening to The Beths a lot. They have a great new album out, [Jump Rope Gazers], and the lyrics are fantastic and their melodies are so fantastic, I’m probably going to try to cover one of their songs. I love catchy melodies — like, I love Carly Rae Jepsen, I listen to her constantly.
A former bandmate opened my ears to new types, new ways of being a singer/songwriter. I don’t know if you know Bartees Strange but he used to play guitar for me. He does a really good combo of like, doing a really great solo show and he’ll do a full post-punk, indie-rock show. He and all of his collaborators are great. He just invited me and another New York artist, Oceanator, onto a live stream — she’s fantastic. She also plays solo and with a full rock band. Those are New York homies I listen to a ton.
I love Sunny War’s playing. She’s a friend and she’s the best. Her live shows are the most mesmerizing thing ever. I’ve been loving listening to her as well.
(Editor’s note: Tune in on August 5, 2020 at 4pm PT / 7pm ET for Lizzie No’s debut performance for Shout & Shine. On BGS, our YouTube channel, and/or Facebook.)
All photos: Gabriel Barreto
Best of: Live From Here
This month brought the unfortunate news that Live From Here, hosted by Chris Thile, has been cancelled.
The American Public Media-produced radio show, previously known as A Prairie Home Companion, has been beloved by listeners since its inception in 1974, and continued in 2016 when the series was rebranded as Live From Here, with Thile leading the way.
The show was cut from production as a result of COVID-19’s widespread impact on the music and entertainment industries. On his socials, Thile graciously acknowledged the decision, stating the purpose of Live From Here as “a celebration of live, collaborative audible art.”
So, without further hesitation, let’s look at 11 of our favorite Live From Here moments.
“Dean Town” – Vulfpeck & Chris Thile
“Fiddle Sticks” — Billy Contreras
“Lovesick Blues” — Brandi Carlile, Ben Folds, Chris Thile, & Sarah Jarosz
“Change” – Mavis Staples
“Toy Heart / Marry Me / Jerusalem” – I’m With Her
“In Da Club” / Musician Birthdays – Julian Lage, O’Donovan, Thile, and More
“Blue Skies” – Andrew Bird & Chris Thile
“Kodachrome” – Paul Simon
“Can’t Find My Way Home (Blind Faith)” – Rachael Price
“Winter Boy” – Amanda Brown
“Hard Times” – Chris Thile
All we have left to say is — thank you to Chris Thile, all of the musicians, crew, and those who made Live From Here possible. And we hope these “Hard Times” we’re all living in together come again no more.
Photo credit: Nate Ryan
BGS 5+5: Will Hoge
Artist: Will Hoge
Hometown: Nashville, Tennessee
Latest Album: Tiny Little Movies (June 26, 2020)
Which artist has influenced you the most … and how?
My dad. He was a musician before I was born and that carried over into an incredible album collection. Every great album from 1964-1978 was at my disposal.
What’s your favorite memory from being on stage?
Shit, at this point, I’ll repeat a worst memory just to be back on stage. Also any time I get to play at the Ryman.
What was the first moment that you knew you wanted to be a musician?
My dad and my uncle snuck me into a bar to see Bo Diddley when I was about 13. My mind was totally blown. Hard to focus on much else after that.
What’s the toughest time you ever had writing a song?
“Jesus Came to Tennessee.” It had about 15 more verses. Editing that one was a journey.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
Ice cream and Brandi Carlile
Photo credit: Katie Krauss
Americana Music Association Reveals 2020 Nominees, Expands Ballot
The Americana Music Association has revealed the nominees for its 19th annual Americana Honors & Awards, with Brandi Carlile, Brittany Howard, John Prine, Tanya Tucker, and Yola nominated for Artist of the Year. Nominees in the Duo/Group category are Black Pumas, Drive-By Truckers, The Highwomen, Buddy & Julie Miller, and Our Native Daughters. Nathaniel Rateliff and Aubrie Sellers received multiple nominations as well.
This year, the Americana Music Association expands its award categories to include five nominees instead of four, with the exception of Song of the Year, totaling six due to a nomination tie. The winners of each category will be announced during the Americana Honors & Awards on Wednesday, Sept. 16, 2020, at the Ryman Auditorium in Nashville.
However, a press release states that “the health and safety of the Americana music community is the association’s utmost concern, and the event organizers will continue to monitor the COVID-19 situation closely while following all national, state and local guidelines as they approach the scheduled ceremony date.” Ticketing information will be announced as plans unfold.
Here are the nominees for the 19th Annual Americana Honors & Awards
Artist of the Year:
Brandi Carlile
Brittany Howard
John Prine
Tanya Tucker
Yola
Duo/Group of the Year:
Black Pumas
Drive-By Truckers
The Highwomen
Buddy & Julie Miller
Our Native Daughters
Album of the Year:
And It’s Still Alright, Nathaniel Rateliff, produced by James Barone, Patrick Meese and Nathaniel Rateliff
Country Squire, Tyler Childers, produced by David Ferguson and Sturgill Simpson
The Highwomen, The Highwomen, produced by Dave Cobb
Jaime, Brittany Howard, produced by Brittany Howard
While I’m Livin’, Tanya Tucker, produced by Brandi Carlile and Shooter Jennings
Song of the Year:
“And It’s Still Alright,” Nathaniel Rateliff, written by Nathaniel Rateliff
“Bring My Flowers Now,” Tanya Tucker, written by Brandi Carlile, Phil Hanseroth, Tim Hanseroth and Tanya Tucker
“Crowded Table,” The Highwomen, written by Brandi Carlile, Natalie Hemby and Lori McKenna
“My Love Will Not Change,” Aubrie Sellers featuring Steve Earle, written by Billy Burnette and Shawn Camp
“Stay High,” Brittany Howard, written by Brittany Howard
“Thoughts and Prayers,” Drive-By Truckers, written by Patterson Hood
Emerging Act of the Year:
Black Pumas
Katie Pruitt
Aubrie Sellers
Billy Strings
Kelsey Waldon
Instrumentalist of the Year:
Ellen Angelico
Annie Clements
Brittany Haas
Zachariah Hickman
Rich Hinman
Photo credit: Brandi Carlile by Alysse Gafkjen; Brittany Howard by Danny Clinch; John Prine by Danny Clinch; Tanya Tucker by Danny Clinch; and Yola by Alysse Gafkjen.
AMA logo courtesy of the Americana Music Association.
BGS Long Reads of the Week // May 15
Welcome to another week of long reads! The BGS archives are simply chocked full of golden content from across the years. So each week we’re sharing our favorite longer, more in-depth articles, stories, and features to help you pass the time. If you haven’t already, follow us on social media [on Facebook, Twitter, and Instagram] for our #longreadoftheday picks — and as always, we’ll put them all together right here at the end of each week.
Our long reads this week are bluegrass two by two by two, they’re historic, they’re virtuosic, and they remain unbroken, too. Read more:
Ever since the earliest days of bluegrass and old-time all anyone has ever needed to start a “band” is just two folks, pickin’, singin’, and otherwise. This long read, a delightful collection of twenty-two of the greatest pairs to ever render a number together and call it bluegrass, could easily kill and an entire afternoon or evening — it’s a rabbit hole you’ll want to follow to its end. From Charlie and Bill to Skaggs and Rice and so much more, too. [Check out the full story]
Brandi Carlile: An Interview from Doc Watson’s Dressing Room
Just about a year ago now, in the afterglow of MerleFest 2019, we published this conversation with Brandi Carlile that we had in Doc Watson’s dressing room backstage at the festival grounds in Wilkesboro, NC. Carlile was about to headline the iconic bluegrass, Americana, and roots festival for the very first time — a somewhat historic occurrence that was not lost on those gathered in the storied main stage green rooms of the thirty-plus-year event. [Read the conversation]
Sierra Hull Seizes the Moment in 25 Trips
In our interview with singer/songwriter, mandolinist, and multi-instrumentalist Sierra Hull, we dig into the fresh sonic territory she explores on her most recent album, 25 Trips. For the first time, Hull worked with producer Shani Gandhi, who helped shape the album’s diverse production styles — from stripped down tracks with just guitar and vocals, to familiar bluegrass arrangements, to songs with fuller production than those found on Hull’s first four albums. [Read more]
Nitty Gritty Dirt Band’s Jeff Hanna Reflects on Will the Circle Be Unbroken, Volume 2
In September of last year, to mark the 30th anniversary of the “Circle 2” album, we had a conversation with Jeff Hanna about how the group was able to issue a follow-up to the first iconic Will the Circle be Unbroken record that somehow recaptured that magic while covering plenty of new ground. We coupled our interview with a special screening of archival footage from the documentary film about the making of Circle 2 at the Country Music Hall of Fame and Museum. [Read the interview on BGS]
MIXTAPE: Marie Miller’s Quiet Hope From Home
“Music has always been a source of hope in the most difficult seasons of life. It possesses that strange quality to make mosaics out of even the most broken places and emotions. As we face this pandemic as a world community, I pray this music fills your heart and gives you quiet hope from home.” — Marie Miller
The Collection – “Becoming My Own Home”
I remember the first time I heard this whole album, and I honestly gasped in joy! This song is about finding home within yourself. I think it speaks to this time as many of us are reconnecting with ourselves in our homes.
Brandi Carlile – “The Mother”
We have all lost something in this pandemic, but we haven’t lost who we are. Brandi Carlile I will love you forever.
Marie Miller – “Little Dreams”
I’m going to be super awkward and put myself on here for two reasons. 1. This song is about believing in your dream when EVERYTHING is falling apart. 2. I just want to be near Brandi in any way I can.
Lowland Hum – “I Will”
I can’t count how many nights I have looked at the sky and listened to this with wonder at the dark sky and bright stars. It just makes me feel like we are going to be OK.
Kelly Hunt – “Across the Great Divide”
Speaking of soothing music, Kelly Hunt makes truly lovely and peaceful music. Also I have yet to meet her, but I imagine she would be the kindest person in the world.
Punch Brothers – “Soon or Never”
I don’t think I will ever get tired of this song. It’s almost hauntingly beautiful. It breaks my heart, but puts it back together before the end of the song.
Joy Williams – “Front Porch”
Going with theme, I feel like I am at the front porch of forgiving myself and loving myself and that’s still home even if its not quite inside. “The light is on. Whatcha waiting for?”
Josh Ritter – “Change of Time”
As we all let go of what we thought this year would be, I am allowing Josh Ritter to serenade me and remind me all will be well.
Fleet Foxes – “White Winter Hymnal”
The first time I heard this song I was in love with this boy, and I felt like he might like me. I don’t know that boy anymore, but I feel that hope every time I hear it.
Robby Hecht and Caroline Spence – “I’ll Keep You”
I think Robby Hecht could fill any heart with hope. This song is about keeping things that matter, and I think it’s a great song for today.
The Wailin’ Jennys – “Glory Bound”
This song is about heaven, and the Wailin’ Jennys sing like angels. It would be hard to find something more hopeful and beautiful.
Michelle Mandico – “1,000 Feet”
The world needs to braver and kinder than its ever before to make beauty out of this sorrow. I believe we are far kinder and braver than we know. This song reminds us of just that.
WATCH: The Secret Sisters Welcome Solace of Spring with “Late Bloomer”
With spring just arriving, our BGS Artist of the Month has just given us a seasonal freshen-up with a lovely new release. Siblings Laura Rogers and Lydia Slagle, known as The Secret Sisters, released their latest album, Saturn Return, at the end of February. The new record was produced by Brandi Carlile along with Phil and Tim Hanseroth and was released on New West Records.
“Late Bloomer” and its accompanying video have the same glow that an old photo album or a home-cooked meal with your family might have: welcoming, heart-warming, and encouraging. The message of the song is one of affirmation and reassurance, reiterating that everyone’s story is different and every path is unique. For a peak into what Saturn Return holds, watch the Secret Sisters’ touching music video for “Late Bloomer,” a spring of solace for those who feel the familiar impulse to compare and pass judgment on their own experience.
Photo credit: Alysse Gafkjen