Tag: Brandi Carlile

Tanya Tucker Just Might Prove Her Dad Right (Part 1 of 2)

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Although her voice is instantly identifiable to even a casual country listener, Tanya Tucker has perpetually reinvented herself in the public eye since she debuted with “Delta Dawn” in 1972. From a mature teen singer in the ’70s, a scandalous star of the ’80s, and an award-winning vocalist in the ’90s, it’s never been easy to define her.

Now she’s back with While I’m Livin’, a stunning song cycle that shows her tender side as well as her rowdy, ready-to-party personality. It’s her first album of new material in 17 years, and by working with producers Brandi Carlile and Shooter Jennings, she’s made the most striking album of her career. Here’s the first of our two-part interview with Artist of the Month, Tanya Tucker.

BGS: I’m sure you’ve been approached to make a record over the last 17 years. What was it about this situation that made you say, “Yeah, let’s do it”?

Tucker: I’ve been working on other projects that I’m doing on my own. I’m really proud of those things and I hope that they see [a release]. I feel like this album, for some reason, is going to open that door. It seemed like before it was low interest. I don’t feel like there was a lot of interest. Maybe there was, I didn’t know about it, but when Shooter said something to me about it, I was like, “Yeah, great, great…” I went off and did Tucson and forgot all about it.

But I came back and it snowballed, and before I knew it, I was in LA doing some recordings on songs that I really didn’t know. I do my deal. I’ve done it all my life. When a song is pitched to me, I put my own something on it — I’ve changed a lot of ‘his’ to ‘her’ and made it my own. That’s one of the biggest compliments I’ve gotten from songwriters. I’ve heard from many of them that I can take their song and make it my own. They’ve always told me that, so it’s a very big compliment to me and I think that’s important. But this kind of came out of nowhere. I really can’t explain it. It kind of just happened and I don’t know how it happened. It did though. I’m pretty sure.

I’ve heard it, it’s real.

I think it is real. I’ve listened to it a few times and the good news is that the more I listen, the more I like it. Because it started out not that way.

What was your first impression of the final product?

I said, “No! Absolutely not.” I just didn’t hear it. I didn’t hear the songs as being anything I could really get into, or put my heart into. I really didn’t think it was going to be that good. I was wrong, and I love being wrong. I mean, I’m wrong a lot, but I was really wrong about that.

What was the relationship like in the studio with Shooter, and what’s he like as a person?

Well, Shooter’s great. I’ve known him before he was Shooter. But if you really would concentrate the time we spent together — very little time. But we spent more time probably on this project than we ever had, and we’ve become best friends. I wouldn’t say I had any better friends. He’s as good as any friend I’ve got.

Good. How about Brandi?

Oh, Brandi. She’s not even right. She is not local. She’s not of this world, she’s just in it. Yeah, she’s very exceptional. Something about her communication skills — maybe it’s just me, I don’t know, but I’ve watched her with everybody and you see the respect people have for her. … That’s the way that you want it to be. The way we made that record — I wish they were all that way. Brandi’s the same way [as Shooter]. I feel like she’s my best friend, totally. And I’d never heard her sing. Not until the Grammys and we were already done with the album.

What did you think when you heard “The Joke”?

I was blown away. Yeah. Blown away. And I loved “That Wasn’t Me.” I think I’m going to learn that one. I may not record it but behind closed doors I may learn that song. If anything, to just say thanks. Hell, she knows all of mine, I should probably start learning a couple of hers, you know? I’m way behind.

Well, it’s important who you surround yourself with. I mean, I don’t have to tell you that.

It used to be really hard for me to see anything bad about anybody. My dad was real good at seeing it before they even knew they were. He was very good about that. I hope that I am acquiring his skills. I’m still not as good as he was.

About a week ago, I read Nickel Dreams [Tucker’s 1997 memoir] and he was like your co-star in that book.

Yeah, well, he is the star, as far as I’m concerned. I’ve never read the book, but they’re on to me about writing another book. I really think that’s the real story. If there was a movie, I believe it should be his life. And then when I get started, that would be the end of the movie. Sequel! I plan ahead. But I think his story is phenomenal and it really needs to be told. His life was pretty unbelievable.

Your childhood is pretty interesting, though, too. Living in Utah…

Arizona, Nevada, and Arkansas.

It is a very dramatic life.

Yes.

It would work well for a script.

Yeah, well, I lived it, so it’s not so interesting to me, but maybe it is. And if it is, then that’s great.

What do you think your dad would say about this record if he had a chance to listen to it?

Oh wow, that’s a good question. Wow, oh wow…. Well, I’d have to say I believe he would love it because there’s two or three songs in there about him. The Twins [Carlile’s longtime bandmates, Tim and Phil Hanseroth] and Brandi actually wrote and custom-fit those songs to me, which is a real talent right there. One that I do not have, among others. But they have the talent. I don’t know if they have it all the time or if it was just this one time. They brought it all together. I don’t know. But I know that it’s unusual.

In fact, Brandi said, “God, I’d give anything if I could’ve met your dad.” And I told her, “Well, he didn’t like many people, but I do believe he would’ve liked you. I really do.” … I think he would like those songs but I think he would definitely be proud of “Bring My Flowers Now”. Because he always told me — Oh my God! You know what? I just figured something out.

What’s that?

My dad told me once, he said, “Let me tell you something.” He said, “The biggest record you’ll ever have, it’ll be the one that you wrote.”

How old were you when he told you that?

Oh, he told me several times. I was already started. I mean, it wasn’t when I was a kid, but many times he’d tell me that. “That’s what you need to do, is write.” But he didn’t like the association that I had to associate with to write. Because back in the day, party party party. Stay up all night, write a few songs. Stay up for a few days and something’s going to come out of it. He didn’t like that part of it. Now it’s become like a business. Meet me at 8:30 and we’ll write until 10:00, we’ll be done before noon.

But you had the Song House, which I read about in your book. You lived there, and then all the songwriters would come over.

Yep, right. Yep, that’s true.

So you love that association.

Oh yeah. I love to party, too, so it all kind of went hand in hand, like alcohol and cigarettes, or cocaine and cigarettes, and alcohol. And blackjack, throw that in there.

Read the second part of the interview.

Lede photo: Derrek Kupish

MIXTAPE: The Harmaleighs’ Anthems for the Weak

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We are both anxious creatures, whether it comes to an existential crisis about our career choice or what to say next in a conversation. We created a playlist for the Bluegrass Situation based on songs that help calm our anxious minds. — Haley Grant and Kaylee Jasperson, The Harmaleighs

The Harmaleighs – “Anthem for the Weak”

An anthem for those who suffer from anxiety.

The Harmaleighs – “Don’t Panic”

One of our favorites off the new record — we want you to close your eyes and lose all concepts of time and space when you listen.

Lucius – “Go Home”

The first song we ever heard from our favorite band.

The Lumineers – “Gloria”

This is a banger. It does what a lot of Haley’s favorite songs do. It pairs heavy lyrical content with an upbeat danceable vibe. Also, have you seen the music video? It’s visually STUNNING.

Faye Webster – “Room Temperature”

Haley highly recommends you watch the music video. One of her favorites!

Molly Burch – “Without You”

She is Haley’s new favorite discovery! Her tunes give us a major throwback feels.

Theo Katzman – “Break Up Together”

King 👏🏻 of 👏🏻 break 👏🏻 up 👏🏻 songs 👏🏻

Bahamas – “Okay, Alright, I’m Alive”

Bahamas are the most underrated band walking planet Earth.

Ethan Gruska – “Rather Be”

His voice transfers Haley to another dimension.

Emily King – “Remind Me”

One of our favorite artists!! Love how you can feel the intention behind every single word.

Brandi Carlile – “Oh Dear”

Brandi has been such an influence for both of us from a young age. This is one of our favorite songs by her.

Dixie Chicks – “Not Ready to Make Nice”

When morale is low on tour and we are finishing up the last stretch home, you better believe we CRANK this tune.

Patty Griffin – “Forgiveness”

This song has been a constant in our road playlist since we started the band. The songwriting and performance of it is so emotionally raw. This is a grounding track for us. It’s a reminder that the most important thing to portray in a record is the feeling and Patty Griffin nails it.

Lowland Hum – “Will You Be”

The sound of their voices together immediately calms Haley down.

Caroline Rose – “Getting to Me “

Haley swears she has listened to this song 300 times. There is something about the beat in the beginning that makes her feel at ease.

Andrew Bird – “So Much Wine, Merry Christmas”

This song brings Haley back to a very peaceful time in her life. When she listens to it, she can close her eyes and pretend like she’s 21 again.

Paul Simon – “Diamonds on the Souls of her Shoes”

Paul Simon is an artist we both have strong roots with. His voice and instrumentation of all of his songs can make your heart sing.

Photo credit: Ruth Chapa

Artist of the Month: Tanya Tucker

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Tanya Tucker is just as surprised as you are that she’s made a brand new record, While I’m Livin’. In an upcoming two-part interview with the enduring country artist, she talks about working with her producers — and new best friends — Shooter Jennings and Brandi Carlile, her friendship with icons like Tom T. Hall and Loretta Lynn, and the shock at seeing the overwhelmingly positive response so far to the new music.

From signing to a major label as a teenager, to rebounding with an award-winning career in her 30s, Tucker placed milestone singles at country radio throughout the ‘70s, ‘80s, and ‘90s, and she’s earned her reputation as one of the most important female country artists of her generation. Enjoy some of her most significant musical achievements in our Essentials playlist.

Photo credit: Danny Clinch

Be Together: Newport Folk Fest 2019 in Photographs

Posted on by Justin Hiltner

Newport Folk Festival has always played host to singular, incomparable, once-in-a-lifetime musical moments. As you read this you can almost certainly think of at least a handful of examples, right off the top of your head. This year carried on that tradition and then some, displaying absolute magic across the festival’s four stages over the course of the weekend. Too many headline-worthy moments were sprinkled throughout, but BGS photographer Daniel Jackson was on hand to capture this folk and roots lightning in a bottle — from the performance debut of super supergroup The Highwomen to celebrating 80 years of Mavis Staples to surprise guests that make being green and looking cheap seem easy and effortless.

Perhaps the most meaningful take away from the festival, though, was not its star-studded stages, but its mantra — a timely reminder in this particular global moment: Be present. Be kind. Be open. Be together. Folk music, in all of its forms, carves out just such a space to allow for this togetherness. See it for yourself in these photographs from Newport Folk Fest 2019.

All photos: Daniel Jackson

The Highwomen Make Room for Lori McKenna at Their “Crowded Table”

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Hungry for new music? Here’s another serving of The Highwomen, harmonizing effortlessly on “Crowded Table.” A co-write with Lori McKenna and band members Brandi Carlile and Natalie Hemby, it’s from their upcoming self-titled album, produced by Dave Cobb and set for a September 6 release. (Take a look at the track listing at the bottom of the story.)

The band, of course, is composed of Carlile, Hemby, Maren Morris, and Amanda Shires. But who else is crowded around the table? Sheryl Crow, Jason Isbell, and Yola are all confirmed to appear on the album, as well as Carlile’s longtime musical partners Phil Hanseroth (bass, background vocals) and Tim Hanseroth (guitar, background vocals), Chris Powell (drums) and Peter Levin (piano and keyboards).

Look for The Highwomen this weekend at Newport Folk Festival, their only scheduled appearance.

1. “Highwomen” (written by Brandi Carlile, Amanda Shires, Jimmy Webb)
2. “Redesigning Women” (written by Natalie Hemby, Rodney Clawson)
3. “Loose Change” (written by Maren Morris, Maggie Chapman, Daniel Layus)
4. “Crowded Table” (written by Brandi Carlile, Natalie Hemby, Lori McKenna)
5. “My Name Can’t Be Mama” (written by Brandi Carlile, Maren Morris, Amanda Shires)
6. “If She Ever Leaves Me” (written by Amanda Shires, Jason Isbell, Chris Thompkins)
7. “Old Soul” (written by Maren Morris, Luke Dick, Laura Veltz)
8. “Don’t Call Me” (written by Amanda Shires, Peter Levin)
9. “My Only Child” (written by Natalie Hemby, Amanda Shires, Miranda Lambert)
10. “Heaven Is A Honky Tonk” (written by Brandi Carlile, Natalie Hemby, Ray LaMontagne)
11. “Cocktail And A Song” (written by Amanda Shires)
12. “Wheels Of Laredo” (written by Brandi Carlile, Tim Hanseroth, Phil Hanseroth)

Photo credit: Alysse Gafkjen

WATCH: The Highwomen, “Redesigning Women”

Posted on by Justin Hiltner

The day has come, The Highwomen are here! The superstar assemblage of some of this moment’s most prominent and influential voices in country and Americana includes 2019’s breakout star, Brandi Carlile, Nashville’s Americana sweetheart Amanda Shires, singer and hit songwriter Natalie Hemby, and one of mainstream country’s current powerhouses — and a one of very few women to break into the upper echelons of country’s radio charts these days — Maren Morris.

The Highwomen and their contemporaries — unapologetic, unabashed women who proudly stand on their own agency and vision, artistic and otherwise — have defined the last handful of years of American roots music with releases such as “Redesigning Women.” These songs simultaneously acknowledge the uphill climb women face today, especially in roots genres, but not without a heavy dose of the same mettle, the outstanding courage, that has allowed them to already supersede their barriers to entry.

With a moniker that directly references and re-appropriates the iconic all-male supergroup of the 80s and 90s (Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson) it might appear that these four have gargantuan shoes to fill. However, any of even the most casual country fans of the past half decade would know the Highwomen are more than up for the task.

Photo credit: Alysse Gafkjen

WATCH: Tanya Tucker, “Hard Luck” (Feat. Brandi Carlile & Shooter Jennings)

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It’s your lucky day, as “Hard Luck” is here — Tanya Tucker’s brand new video featuring Brandi Carlile and Shooter Jennings, who produced her upcoming album, While I’m Livin’. A 1978 cut from the band Josefus, “Hard Luck” was chosen for the new album by Jennings and personalized lyrically by Tucker. “This tune is really fun,” says Carlile. “If you know Tanya Tucker you know this is her song.” Try your luck and take a look.

Video directed by Chris Phelps

Americana Honors & Awards 2019 Nominees Revealed

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Lori McKenna, John Prine, The War and Treaty, and Yola are among the artists nominated in multiple categories for the 18th annual Americana Honors & Awards, to be held on September 11 in Nashville.

Meanwhile, Dave Cobb produced three of the four albums in the Album of the Year category. In addition, Rhiannon Gidden received nominations for Artist of the Year, while her ensemble Our Native Daughters earned a Duo/Group of the Year nod.

A full list of categories and nominees for the Americana Music Association’s 18th annual Americana Honors & Awards is below:

ALBUM OF THE YEAR:
To the Sunset, Amanda Shires, produced by Dave Cobb
The Tree, Lori McKenna, produced by Dave Cobb
The Tree of Forgiveness, John Prine, produced by Dave Cobb
Walk Through Fire, Yola, produced by Dan Auerbach

ARTIST OF THE YEAR:
Brandi Carlile
Rhiannon Giddens
Kacey Musgraves
Mavis Staples

DUO/GROUP OF THE YEAR:
I’m With Her
Our Native Daughters
Tedeschi Trucks Band
The War and Treaty

EMERGING ACT OF THE YEAR:
Jade Bird
J.S. Ondara
Erin Rae
The War and Treaty
Yola

INSTRUMENTALIST OF THE YEAR:
Chris Eldridge
Eamon McLoughlin
Chris Powell
Michael Rinne

SONG OF THE YEAR:
“By Degrees,” Mark Erelli, Rosanne Cash, Sheryl Crow, Lori McKenna, Anais Mitchell & Josh Ritter, written by Mark Erelli
“Mockingbird,” Ruston Kelly, written by Ruston Kelly
“People Get Old,” Lori McKenna, written by Lori McKenna
“Summer’s End,” John Prine, written by Pat McLaughlin and John Prine

In addition, the Americana Music Association honors distinguished members of the music community with six member-voted annual awards and with Lifetime Achievement Awards, which will be announced leading up to the event. The Milk Carton Kids and Mavis Staples unveiled this year’s nominations in Nashville.

The winners of each category will be announced during the Americana Honors & Awards at the historic Ryman Auditorium. Americanafest runs from Sept. 10-15. Tickets for the Americana Honors & Awards are currently only available for purchase by Americanafest conference registrants.

Photo credit for John Prine: Danny Clinch

Brandi Carlile: An Interview from Doc Watson’s Dressing Room

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Give or take, it’s about 2,800 miles from Brandi Carlile’s native Seattle, Washington, to Wilkesboro, North Carolina, home to the renowned music gathering known as MerleFest. (See photos.) And as the Saturday night headliner this year, the award-winning singer-songwriter took to the Watson Stage during the 32nd annual MerleFest, surrounded by the Blue Ridge Mountains and an overzealous audience in the neighborhood of 30,000.

Backed by her rollicking Americana/indie-rock band, which includes founding members Phil and Tim Hanseroth (aka: “The Twins”), Carlile held court during an unforgettable performance that led to one of the festival’s finest moments — Carlile around a single microphone with North Carolinians Seth and Scott Avett for an encore of the Avett Brothers’ “Murder in the City.”

But a few hours before that performance, Carlile found herself standing backstage alone in the dressing room of the late Doc Watson, the guitar master who founded MerleFest. Gazing around the small square space, she looked at old photos of Watson and other legendary Americana and bluegrass performers that have played MerleFest over the years: Earl Scruggs, Alison Krauss, Peter Rowan, Rhonda Vincent, Tony Rice, and so forth.

Carlile smiled to herself in silence, truly feeling humbled in her craft and taking a moment to reflect on her wild and wondrous journey thus far, all while possessing a once-in-a-generation talent — something broadcasted across the world during her staggering performance of “The Joke” in February at the Grammys, and amid a standing ovation from the music industry. Remarkably she also picked up all three Grammys in the American Roots Music categories.

We met Carlile in Watson’s dressing room before the show for our interview and surveyed the steps she’s taken from Seattle to the MerleFest stage.

BGS: It seems as big as your career has gotten, the humble nature of where you came from still remains within you, as a headlining performer now.

Carlile: It does. Part of that reason why I feel that is part of who I am is because of the people that I’ve surrounded myself with — The Twins, our families, our kids, and our folks. They’re not going to let anybody get too heady or too ahead of themselves. Everybody puts you right back in your station if you’re getting there.

Growing up around Seattle, was Kurt Cobain’s songwriting or specifically the Unplugged in New York album by Nirvana ever a big influence on you as a performer?

It was later in life. It’s so funny, like when you live in the [Pacific] Northwest, the intensity that was directed towards country music for me was big because I didn’t have proximity to it. I was so far away from it. People in the South, I think so often they love country and western roots music, bluegrass, folk, and Americana music. It’s not that they take it for granted, but they don’t realize sometimes that they’re so close to it — it’s right here. And we don’t have that proximity, so I think we love it a little more intensely in the Northwest.

Because you’re seeking it out maybe?

Yeah. And [it’s] even more concentrated in the [United Kingdom]. I mean, if you want to meet some of the most potent country music fans, you go to the UK. And Seattle is kind of that same vibe. So, when I discovered grunge music and rock ‘n’ roll music, it was after it had already happened in my city, which had its own grief period with it, but also kind of an intense celebratory thing because I had missed it. I wanted to know everything about what happened in my city. And what I came away with was realizing we came up with something new. We didn’t repeat anything. We didn’t throw back to an era. We didn’t put on a Halloween costume. We did something brand new.

So, how does that apply to where you are today, in terms of what you want to create with your art?

I’m kind of a hybrid thinker, in general. I like putting ideas together and posing thoughts, things like that. I’ve never really been a great or very successful genre person.

You don’t want to be pigeon-holed…

It’s not that I don’t want to be pigeon-holed, it’s just that I don’t know if I’m able to be. Unfortunately I’ve always wanted to fit in, but I don’t know if I ever will.

Well, to that point, this last year, at least from an outsider’s perspective, has seemed like a whirlwind in your career, with the trajectory it’s on now. Has it been a slow burn to this point or is this a whirlwind, and how are you dealing with all of that?

That’s a good question. It’s both. It’s been a slow burn to this point. I’ve been working for a long time. But it was a really big change. That Grammy moment changed my life, and in a really, really big way. I can’t even catch up to it yet — I don’t even know how to catch up to it yet.

Or if you even want to embrace it. I mean, how do even wrap your head around something like that?

No, dude, I want to embrace it — I love it. I’ve always loved everything about music and the music business since I was such a little girl. I sat in my room wanting the biggest and the best of opportunities for myself, my family, and my friends. And so I’ll find a way to embrace it. And I want to — I’m really insanely grateful for it.

What do you remember from that moment? I was thinking, the stunning way your voice and the energy was going up and down, any frustration, any love or sadness you’ve experienced was put out through that microphone at that moment…

Yeah. I think I’m going to live to be 100 because that is how I do it, you know? I just let it all out. And in that moment, I don’t know — I was just so ready for it. I’m 38. I’m not a kid anymore. I’m not going to get too nervous or too excited and come undone. But, I am going to enjoy it while it’s happening. Like so many big things in your life you don’t really get to enjoy it.

Or maybe in hindsight you realize how important it was…

Yeah, man. Like loving everything in retrospect, enjoying everything in retrospect. And I was just so right there, right in the moment at the time — more so than maybe ever before while performing.

So, does that mean you subscribe to the idea of “the now,” to learn to be present, rather than worry about what was and what could be?

Yeah, but I’m horrible at it. But for some reason, that day I was able to get there. And I think it’s because I had been so nervous and then I won those three [Grammys]. I was like, “What do I got to lose? I’m just going to do this. I’m just going to show everybody [who I am].”

What is the role of the songwriter in the digital age, in all this chaos that is the 21st century?

To try to be as permanent as you can in a temporary environment.

In all the years you’ve created and performed music, traveling the world and meeting people from all walks of life, what has it taught you about what it means to be a human being?

Well, it’s taught me so much. I think you need to travel, in general, in life. You cannot stay put and not see the way that people live and then try and create an assumption about the way the world works. Travel, in general, has taught me so much about social justice and empathy. It’s enhanced me spiritually as a person, and that’s the thing I think I’ve garnered the most out of it. But I’ve met some really wise and special people as well. And to get to meet your heroes, people that you’ve admired – to find out if you were completely wrong about how much you admire them or being completely right — has been so enlightening.

And what about being in Doc Watson’s dressing right now, being at Merlefest?

Being in Doc Watson’s dressing room is really moving. I’ve been looking around at the pictures and the gravity of it. And when you’re here at this festival, you feel the reverence and you understand what it’s all about. And it’s something I’m coming to later in life. Just like I missed the greatest rock ‘n’ roll genre of all-time — grunge — in my very own city, I missed this experience, too — and I’m looking forward to diving in with both feet.

All photos: Michael Freas

MerleFest 2019 in Photographs

Posted on by Justin Hiltner

MerleFest 2019 is officially in the books. The quintessential bluegrass, roots, and Americana festival — named for Doc Watson’s son, Merle — drew more than 75,000 attendees from around the world to the grounds of Wilkes Community College in Wilkesboro, North Carolina. The four-day event celebrated NC’s “Year of Music” with over 100 bands from all across the state, the country, and the world.

On Saturday night, BGS once again presented the ever-popular Late Night Jam, hosted by Chatham County Line, which featured performances from many of MerleFest’s stellar acts including Ellis Dyson, Jim Avett, Scythian, Molly Tuttle, Shane Hennessy, Donna the Buffalo, Jontavious Willis, Jim Lauderdale, Catfish Keith, Presley Barker, Ana Egge, the Brother Brothers, Steve Poltz, and many more friends and special guests.

Check out MerleFest 2019 in photographs and make plans to join us next year!

Lede photo: Michael Freas