In the latest episode of Finding Lucinda, Ismay drives to Nashville to share the incredible never-before-heard tape they found during their road trip journey with friend Buddy Miller. Miller is known to have contributed essential parts to Lucinda’s breakthrough, Car Wheels On A Gravel Road. Ismay reviews the commonly told story about the making of this record, how fraught it was, and realizes that there actually is important history to uncover – history that reveals a more interesting and unexpected truth about why this record was so challenging to make. Ismay discusses Lucinda’s history in L.A., where she met a critical collaborator Gurf Morlix and subsequently made her albums Sweet Old World and Lucinda Williams.
Produced in partnership with BGS and distributed through the BGS Podcast Network, Finding Lucinda expands on the themes of Ismay’s eponymous documentary film, exploring artistic influence, creative resilience, and the impact of Williams’ music. New episodes are released twice a month. Listen right here on BGS or wherever you get podcasts.
Finding Lucinda, the documentary film that inspired and instigated the podcast, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.
Credits: Produced and mixed by Avery Hellman for Neanderthal Records, LLC. Music by Ismay. Artwork by Avery Hellman. Nashville Recording: Recorded at Hummingbird Hill Studio. Sound Recordist: Rodrigo Nino Producer: Liz McBee Director: Joel Fendelman Co-Director & Cinematographer: Rose Bush Special thanks to: Mick Hellman, Chuck Prophet, Jonathan McHugh, Sydney Lane, Don Fierro, Jacqueline Sabec, Rosemary Carroll, Lucinda Williams, and Tom Overby.
Find more information on Finding Lucinda here. Find our full Finding Lucinda episode archive here.
The Finding Lucinda podcast is now available on all major podcast platforms, with new episodes released twice a month. Listen right here on BGS or wherever you get podcasts. Finding Lucinda, the documentary film, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.
Twice a month, new episodes will be shared across podcast platforms and right here, on BGS, in our full episode list and breakdown. Simply bookmark this article for new episodes and updates every two weeks! Find more information on Finding Lucinda here.
Episode 8: Buddy Miller Talks Car Wheels On A Gravel Road
In the latest episode of Finding Lucinda, Ismay drives to Nashville to share the incredible never-before-heard tape they found during their road trip journey with friend Buddy Miller. Miller is known to have contributed essential parts to Lucinda’s breakthrough, Car Wheels On A Gravel Road. Ismay reviews the commonly told story about the making of this record, how fraught it was, and realizes that there actually is important history to uncover – history that reveals a more interesting and unexpected truth about why this record was so challenging to make. Ismay discusses Lucinda’s history in L.A., where she met a critical collaborator Gurf Morlix and subsequently made her albums Sweet Old World and Lucinda Williams.
In the most exciting moment of the Finding Lucinda road trip thus far, Ismay hears from interviewee Wolf Stephenson that there is some archival material he wants to share from the concrete tape vault. After sitting on the shelf for 40 years, Wolf has finally brought three boxes down to review. He finds that there is something mysterious and unexpected in the third box, so Wolf and Ismay try to get to the bottom of what in the world this mystery box contains. This piece of never-before-heard material gives Ismay insight into Lucinda’s musical development and the choices she made as a creative person. But most importantly, discovering this treasure gives Ismay an opportunity to see themself in a way they never have before.
Ismay travels from Texas to Mississippi, to visit the studio where Lucinda Williams made her first record. There, Ismay interviews Wolf Stephenson, who was the engineer that day in 1978, to learn about what happened during the session and whether Lucinda was confident through that initial challenge of recording. They discuss what results when artists get rejected and what keeps certain artists moving forward in spite of various roadblocks. Stephenson oversaw the development of Malaco Records, which produced R&B, soul, and gospel hits. Elsewhere in the episode, Ismay also takes time to visit the stretch of country between Austin, Texas and Jackson, Mississippi in order to understand the landscape that informed Lucinda’s work.
Ismay travels to Anderson Fair in Houston, Texas, a famed music venue with a unique history that includes legends like Lyle Lovett and Nanci Griffith. Ismay tracked down a special character from Lucinda’s early career, who had largely been missing from the national music scene since the ’70s. There they discover how artists’ paths diverge and contemplate what we’re all looking for when we seek out careers in music.
Ismay uncovers a fascinating seldom heard recording of Lucinda from a radio show in 1981, leading them down a path to discover the musical influences in Lucinda’s early Life. Meeting with members of the Grammy Award-winning band Los Texmaniacs, Ismay goes out on a limb and seeks to recreate that radio session in the famed Cactus Cafe.
Ismay visits cornerstone music venue The Hole in the Wall in Austin to interview Charlie Sexton, the producer and songwriter who’s best known as a guitarist for Bob Dylan. They discuss Charlie and Lucinda’s first gig together in 1979 when he was just a kid. Charlie shares insights into Lucinda’s remarkable songwriting, as well as the emotional struggles musicians face with self-doubt.
Ismay arrives in Austin, Texas to dig through the Collections Deposit Library at the University of Texas in order to understand the life of Lucinda Williams’ father, Miller. A poet and teacher, Miller Williams overcame setbacks to become a prominent writer. Ismay discovers his personal writings, letters, and photographs, highlighting his mentorship and the artistic community that shaped Lucinda’s career.
As we join the story, Ismay has been living and working on their family ranch for almost a decade – and they’re looking for change. For several years the independent singer-songwriter has been playing in a Lucinda Williams tribute band and writing their own music.
An opportunity to record an album sparks a new and different idea: to instead embark on a road trip to uncover the early days of Lucinda’s music career and, hopefully, find a way forward creatively. However, they are plagued by self-doubt about whether pursuing music can still be worthwhile for them. But in spite of this uncertainty, Ismay dives into research to see where a journey across the country – and further into the life and music of Lucinda – could lead.
BGS is proud to announce a new podcast partnership, unveiling a sneak peek of Finding Lucinda, our new 14-part limited podcast series created by Americana/folk singer-songwriter Ismay. Built upon Ismay’s work crafting the award-winning documentary film, Finding Lucinda – which is gearing up for its own release in the fall of 2025 – the new eponymous companion podcast is set to launch its first season on May 5. (Listen to the season 1 trailer below.)
The show offers an intimate and revealing look into young songwriter Avery Hellman carving their own creative path by looking towards the early life and legacy of three-time GRAMMY Award-winning singer-songwriter Lucinda Williams.
Produced in partnership with BGS and distributed through the BGS Podcast Network, Finding Lucinda expands on the themes of Ismay’s eponymous documentary film, exploring artistic influence, creative resilience, and the impact of Williams’ music. Told through the lens of Hellman’s personal experiences and journey through music, the 14-part series takes listeners into the making of an icon using archival materials, exclusive interviews, and fresh commentary from artists and collaborators who knew Lucinda – often long before the world did.
BGS is proud to announce a new podcast partnership, unveiling a sneak peek of Finding Lucinda, our new 14-part limited podcast series created by Americana/folk singer-songwriter ISMAY. Built upon ISMAY’s work crafting the award-winning documentary film, Finding Lucinda – which is gearing up for its own release in the fall of 2025 – the new eponymous companion podcast is set to launch its first season on May 5. (Listen to the season 1 trailer below.)
The show offers an intimate and revealing look into young songwriter Avery Hellman carving their own creative path by looking towards the early life and legacy of three-time GRAMMY Award-winning singer-songwriter Lucinda Williams.
Produced in partnership with BGS and distributed through the BGS Podcast Network – which hosts and has created hit podcasts like Basic Folk, Toy Heart with Tom Power, Harmonics with Beth Behrs, Carolina Calling, and more – this new offering expands on the documentary film’s themes, exploring artistic influence, creative resilience, and the impact of Williams’ music. Told through the lens of Hellman’s personal experiences and journey through music, the 14-part series takes listeners into the making of an icon using archival materials, exclusive interviews, and fresh commentary from artists and collaborators who knew Lucinda – often long before the world did.
Recorded during the making of the film, podcast episodes will feature in-depth conversations with Americana legends, including Charlie Sexton, Buddy Miller, Mary Gauthier, and Williams herself. Each edition of Finding Lucinda unpacks the pivotal people, places, and creative moments that shaped Lucinda’s groundbreaking voice and vision.
The story begins with ISMAY – Hellman, an emerging artist navigating their own doubts and dreams – setting off from a family ranch in Northern California to trace Lucinda’s path through Texas, Louisiana, and Tennessee. Along the way, they visit the venues where Lucinda first performed, uncovers hidden archival treasures, and seek wisdom from those who shaped her artistic foundation.
The Finding Lucinda podcast will be available on all major podcast platforms starting May 5, 2025, with new episodes released twice a month. Listen right here on BGS or wherever you get podcasts. Finding Lucinda, the documentary film, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.
“Through this podcast, we wanted to share even more of the stories, perspectives, and discoveries that couldn’t all fit into the film,” says ISMAY.
Part memoir, part music history, and part spiritual road trip, Finding Lucinda is ultimately a story about self-discovery, artistic bravery, and learning how to move forward – even when you’re unsure where the road will lead.
More information on the Finding Lucinda documentary and podcast here.
In a mere 10 days, Cayamo’s 16th edition will set sail from Miami for a week of Americana and roots music afloat on the beautiful Caribbean. Fans will spend the intimate week enjoying shows, collaborations, activities, and special events featuring the best musicians and artists in the roots music scene, all while porting in the Dominican Republic and Aruba. The voyage has been long sold out, but for the lucky folks who will be on board the Norwegian Pearl, BGS has a few tips, tricks, and event highlights you won’t want to miss from the jam packed Cayamo schedule.
If you aren’t a ticket holder for Cayamo 2024, join the waiting list – and it’s never too early to start planning next year! This one-of-a-kind roots music event is a truly special experience. Check out the list below for just a few reasons why Cayamo is such a hot ticket and why we’re so looking forward to being back on board with all of you in a few short days.
Buddy Miller’s Port Show Send-Off
Guitarist, producer, and Music City renaissance man Buddy Miller is no stranger to Cayamo, but this year he’s doing a very special port show to kick-off the entire voyage. Directly after the welcome toast on the pool deck on Friday, March 1, Miller will give the Norwegian Pearl a proper send off with the very first performance of the cruise. Catch his set from 3:45 to 5:00pm, with the all aboard call following at 5:30pm, then it’s bon voyage and goodbye to Miami!
As you can tell from this video shot from the audience on Cayamo 2019, you never know who is going to get up on stage with whom – we’re excited to see what special collaborations Miller puts on with other artists and pickers on the lineup.
The BGS Nightcap Hosted by Mipso
One of the reasons we love Cayamo is getting to hang with and reconnect with so many of our friends! On Tuesday, March 5, at 11:00pm in the ship’s Stardust Theater we’ll reprise our popular Nightcap super jam show from last year, this time with our old pals Mipso as hosts. Speaking of special collaborations, there are bound to be many, many such collaborations at our Nightcap, so don’t miss it if you’ll be on board.
Cayamo Wine Tasting
Let’s continue with “hangs with friends” for another moment, because a bit earlier in the week, before our BGS Nightcap, Jacob Sharp of Mipso and our own executive director, Amy Reitnouer Jacobs, will be hosting a casual and friendly Cayamo Wine Tasting on Monday, March 4 from 1:00pm to 2:00pm in the ship’s Summer Palace. Sharp moonlights as a wine connoisseur and distributor when not making/playing music and our own Reitnouer Jacobs is known to love a good bottle, too. So if you’d like to sip and “nerd out” a bit about wine, soil, grapes, and winemaking, don’t miss the Cayamo Wine Tasting! It’s a perfect example of the unique types of events available to attendees. As the event description puts it, “Amy and Jacob’s friendship is based around sharing food, wine, and music that they see as emotionally poignant – and they’re excited to share that connection with you.”
BGS / Black Opry Artist Karaoke
Everyone loves karaoke and the teams at BGS and Black Opry certainly agree on that point! We couldn’t imagine a more fun cruise ship activity than getting together a bunch of the amazing artists on the Cayamo lineup to sing karaoke songs with the Black Opry house band backing them up. It’s sure to be a wild, hilarious, and enormously fun time. Catch the action in the Atrium on deck 7 on Wednesday, March 6 at 11:30pm. You never know who might show up to holler your favorite karaoke track!
Coffee & Conversation
Join the hosts of BGS’s podcast Basic Folk, Lizzie No and Cindy Howes, for a live-taped podcast conversation over coffee on Monday, March 4, at 9:00am. Their discussion, entitled, “Community/Commodity: Supporting and Sustaining Artists, Orgs, and Fans in the 21st Century,” will explore how the music industry, its artists, musicians, fans, and listeners can be active participants in creating a world where art isn’t just about consumption – and where music isn’t just a commodity. Bring your morning coffee or tea and enjoy a stimulating conversation that asks how events and organizations like Cayamo can be a model for more community-supported and community-engaging music in the future.
In today’s day and age, it seems like one must choose between capitalism or community… or is that really the case? Is there a way that these two can live side by side in the music industry? We’ll discuss all that and more in this very special live recording of FOLK DEBATE CLUB AT SEA! by Basic Folk.
Shows, Shows, Shows!
Of course, let’s not lose the forest for the trees, here. The most tantalizing part of Cayamo is indeed the limitless live shows, special concerts, and on-stage collaborations that the cruise is known for the world over. Boasting over 100 scheduled shows, there’s music for all tastes and from across the American roots spectrum. Below we’ll collect a handful we’re especially excited to catch on the ship.
We can’t wait to set sail with all of you on Cayamo 2024!
SistaStrings
You know them from their work with Peter Mulvey, Allison Russell, Brandi Carlile, Brandy Clark, and many more, but SistaStrings aren’t just a premier string duo working as side musicians with all your favs in Americana – they’re impeccable as a stand-alone group, too. We’ll be catching their set on Saturday, March 2, but we’ll also be keeping an eye out for them to pop up with many other performers on the lineup throughout the voyage.
Sunny War
Sunny War has long been a BGS favorite and she’s certainly one not-to-miss during Cayamo 2024. Her music is often touted for its combination of blues and punk, but even a fleeting exposure to her particular musical stylings reveals she is an artist all her own. There’s nobody out there who quite sounds like Sunny War.
Gabe Lee
If you’re looking for Good Country while on board Cayamo, look no further than Gabe Lee. A Nashville native, Lee offers a forward-looking, gritty, and real take on Music Row’s particular brand of country music. He’s an excellent songwriter and frontman who’s opened for most of your favorite roots artists and we can’t wait to see him shine on the ship.
Black Opry
OF COURSE we’re so excited Black Opry is on board Cayamo 2024. You won’t want to miss our karaoke event, but even more important is that you don’t miss their marquee event, the Black Opry Writer’s Round, which has been a tent pole of this collective’s work for the past several years. (That show is Monday, March 4, at 11:00am in the Stardust Theater.)
There’s a reason why Black Opry is showing up just about everywhere these days – and it’s not just Beyoncé going country. This collective centers the art and experiences of a group of folks who remain underserved and underrepresented in Nashville, on Music Row, and at events like these. And the artists they showcase are always of the highest quality.
In whatever iteration Black Opry will take during their many events on Cayamo, they will demonstrate yet again that these musicians, pickers, and singer-songwriters making American Roots music are joyfully carrying on an age-old tradition – while reminding all of us how none of these genres would exist without the vital contributions of Black folks and Black creators.
Earlier this week renowned guitarist, producer, and engineer John Leventhal announced his debut album, Rumble Strip, to be released on RumbleStrip Records, a label founded with his wife and collaborator Rosanne Cash that will be distributed by Thirty Tigers. Yes, you read that right, a man known for his nearly 50-year, multi-hyphenate career in roots music is releasing his first ever proper solo album. Leventhal made the announcement with the release of two tracks, an instrumental guitar piece entitled “JL’s Hymn No. 2” and a gritty, rockin’ Americana duet with Cash called “That’s All I Know About Arkansas.”
“JL’s Hymn No. 2” showcases the guitar prowess that has made Leventhal such an in-demand sideman and session player across his entire career. On both of these tracks, his playing reminds of such country and roots renaissance men as Marty Stuart, Buddy Miller, David Bromberg, and Larry Williams with each of his constituent musical skills – as engineer, producer, and picker – on full display. “That’s All I Know About Arkansas” is like a post-modern “brother” duet, with Cash stepping into the role of Buddy’s Julie Miller, or Larry’s Theresa Williams, bolstering and supporting her musical- and life-partner in a touching and artistically successful role reversal for the pair. You can hear the passion they have for each other’s music, for each being members of each other’s “bands.”
With a resume and career as exhaustive and expansive as Leventhal’s, it’s remarkable that he’s only reached this pivotal, “debut” milestone at this late-stage point. And, more remarkable still, is that Rumble Strip is clearly another opportunity for Leventhal to challenge himself, break new ground, experiment with new sounds and textures, and continue to grow, morph, and develop as a quintessential musician-producer. It’s engaging and exciting to hear him turn his studio control room magnifying glass onto his own music, his own record.
Rumble Strip will be released on January 26. Enjoy these two tracks from the project now, right here on BGS.
Deep in the throes of their multi-decade romantic and creative partnership, Buddy & Julie Miller continue to open their world to listeners with their fourth studio album, In the Throes. Entirely cooked within the walls of their home from song ideation to production, we get to hear their joyful admiration for each other alongside the frustrations of living, loving, and making music as a pair. There is still a youthful exuberance in the simplicity of the rhymes and meter that manages to capture subtle and profound aspects of life.
BGS caught up with the couple via phone at their home in Nashville to hear about the new album and their storied lives as co-creators.
What is the process of working together leading into production? How do you know when you have a Buddy & Julie Miller record?
Buddy Miller: Well, There have been records where we went into it thinking, let’s make a record. This one, we didn’t. We backed into it accidentally. We were wanting to do a gospel record with our friend Victoria Williams and our two friends Larry Campbell and Teresa Williams. Julie had written all these songs and then COVID hit. Victoria has M.S., and she lives in Joshua Tree. We realized, this isn’t worth killing Victoria for this record. We kind of put a hold on that and we had that song on the record called “We’re Leaving,” and it just kept going over and over in my head, and I loved it. Julie was just writing a ton of songs. I wanted to pilfer that song and use it as a cornerstone for this record. That’s the genesis of it.
Julie, I hear that these songs came from a profoundly creative writing time for you. What does your life look like when you are in the midst of a prolific creative output time?
Julie Miller: I don’t focus on it. It is more like, I’ll be going to the bathroom or walking to the kitchen or something, and I’m just humming something and it just kind of rumbles up in me. It comes out and my brain just says, “Oh, we are doing a record now, let’s think!” It turns on and starts thinking of subject matter. It is a real accidental sort of situation. I’m sure it is more purposeful than I realize. I am kind of closed off once it is hitting. I don’t talk to a lot of people for a while once I’m writing except for Buddy. I’ll get some musical thing in my mind and I can tell him how it goes, and he can play all the notes. He’s like my right-hand man.
Do you have a language that is only your own?
JM: Not exactly, not like that, but we understand each other. I understand him anyway. [Laughs]
Has that evolved a lot over time, how you communicate musically?
JM: Yeah, I’m more intuitive overall than he is. He is just really incredible. And I kind of prompt him on something I’m thinking, and he carries it away. I couldn’t imagine trying to work with anybody else. I just wouldn’t want to do it. He’s my team. We are really locked together on it.
In terms of the songs about relationships on this record, how autobiographical are they? You can feel the reverence and the frustration of being in a creative relationship.
BM: I was kind of a jerk to be in a band with, I think. I probably took things for granted. I would be insensitive enough on stage. I messed up our thing. She stopped playing. And then I took every gig that would come along, which was a lot. I didn’t expect it. At the time, I was playing with Emmylou, but then I got a lot of other production and tour offers. I left Julie at home for years. And that made her relationship with music and me something that needed to be repaired. So we started repairing it with the record before this.
And we spent a lot of time hanging out together and enjoying making the music together. By the time we were working on this, she was on a roll writing songs, and I just loved capturing them.
That’s really inspiring. Let’s be honest, when people hit walls in relationships or creatively, sometimes they quit. But pushing through it and finding healing through music, it’s awesome.
BM: Yes, and it happened through the music and spending time together. And me not taking any more outside work.
You can feel that. How autobiographical is this record?
JM: Well I guess every record is somewhat biographical. But there are certain songs that are pretty autobiographical, just emotions that I’ve been through that I turn into a song. I mean, “You’re My Thrill,” I was feeling it. I was feeling it about Buddy. And “In the Throes,” too. But “Don’t Make Her Cry,” now that was Bob Dylan. I can’t take credit for that line.
That’s a fun co-write!
JM: Oh yeah! I didn’t think I’d live that long. He and Regina [McCrary] are friends and they had this half a song sitting and he said, “Give it to Buddy.” And Buddy didn’t know what to do with it. But I knew what to do with it! I knew just what to do. I’m amazed now, when I look back, that I had the gall to do it. I had no fear or hesitation at all, just like it was anybody else. When I think about it now, I think, “What was I thinking!?”
This album feels like it was cut live, like I’m in the room with you when I’m listening. It seems rare these days that producers let the whole room into the record. I was wondering if you could talk about where you cut it and what the process was like for this one?
BM: The process was a little different, but we’ve made all our records at home. Back in our teeny weeny apartment in LA, Julie had a deal early on where they didn’t quite get the music and it wasn’t a good fit, but the person who signed her took her in the studio and quickly realized that they liked our home demos better. But we just had a little porta-studio. He gave what was left in the budget to buy a tape machine and a couple of mic pre-[amps] so we could do it ourselves. It was very kind of him, and it started us on our way of working together. We started on a four-track cassette, and then we graduated to a little reel-to-reel that had eight-tracks. But we have always made our records at home. Julie has always been super involved in every aspect, just the two of us.
Julie, what is recording like for you? Do you like the process?
JM: I do with Buddy. I don’t without Buddy. With Buddy I can yell. We have a studio downstairs, and we have one directly upstairs. There are pocket doors that open into the studio upstairs and so I sit on the bed and he sits in the actual producer’s chair with all the instruments around and we just play. I’ll have an idea to have him play and then he’ll play something and I’ll go, “Wait! Listen to that! Play that again!” We just play off of each other a lot. He lets me have as much leeway on the songs as I want, but then where I leave off, he is more than there to take it up. He blows my mind. I just can’t believe how fortunate I am to have someone like that to work with. But it is a joy. I don’t really like recording singing that much. It is tedious. It used to be easier. It is harder singing now.
Can I ask you what is harder about it?
JM: Well, I just don’t do it as much. I have this condition called fibromyalgia. It is a pain condition that affects your muscles. It goes into my jaw and under my tongue, and if I use it very much, it gets stiff and paralyzed. It is a good thing we do it at home. I have this concoction made out of tomato soup and hot sauce. Emmylou would have lemon and Altoids, and I have hot sauce and tomatoes.
Well, for what it is worth, one of the notes I made about this record was how exuberant and youthful your voice sounds.
The Americana Music Association announced the winners of its 22nd annual Americana Honors & Awards this evening (September 20) at a star-studded show at the historic Ryman Auditorium during the week-long AmericanaFest conference and festival in Nashville. Performers at the marquee event – which felt, as it usually does, more like a concert interspersed with awards presentations than vice versa – included Bonnie Raitt, Bettye LaVette, S.G. Goodman, Noah Kahan, The Avett Brothers, Adeem the Artist, William Prince and many more with Buddy Miller once again as music director for the Americana All-Star Band.
The evening’s presentations also spotlit this year’s Lifetime, Trailblazer, and Legacy Award Honorees: The Avett Brothers, George Fontaine Sr., Bettye LaVette, Patty Griffin and Nickel Creek. Allison Russell, nominated in two categories, was bestowed the Spirit of Americana / Free Speech in Music Award by the infamous Tennessee Three, Tennessee state representatives Gloria Johnson, Justin Jones and Justin Pearson, whose expulsion by the Tennessee General Assembly after protesting in support of common sense gun legislation earlier this year made international headlines.
A full list of categories, nominees and winners at the Americana Music Association’s 22nd annual Americana Honors & Awards is below, winners in bold. Congratulations to all of the honorees and awardees!
ARTIST OF THE YEAR:
Charley Crockett
Sierra Ferrell
Margo Price
Allison Russell
Billy Strings
ALBUM OF THE YEAR:
Big Time, Angel Olsen; Produced by Angel Olsen and Jonathan Wilson
Can I Take My Hounds To Heaven?, Tyler Childers; Produced by Tyler Childers
El Bueno y el Malo, Hermanos Gutiérrez; Produced by Dan Auerbach
The Man from Waco, Charley Crockett; Produced by Bruce Robison
Strays, Margo Price; Produced by Margo Price and Jonathan Wilson
SONG OF THE YEAR:
“Change of Heart,” Margo Price; Written by Jeremy Ivey, Margo Price
“I’m Just a Clown,” Charley Crockett; Written by Charley Crockett
“Just Like That,” Bonnie Raitt; Written by Bonnie Raitt
“Something in the Orange,” Zach Bryan; Written by Zach Bryan
“You’re Not Alone,” Allison Russell featuring Brandi Carlile; Written by Allison Russell
DUO/GROUP OF THE YEAR:
49 Winchester
Caamp
Nickel Creek
Plains
The War and Treaty
EMERGING ACT OF THE YEAR:
Adeem the Artist
S.G. Goodman
William Prince
Thee Sacred Souls
Sunny War
INSTRUMENTALIST OF THE YEAR:
Isa Burke
Allison de Groot
Jeff Picker
SistaStrings – Chauntee and Monique Ross
Kyle Tuttle
Jack Emerson Lifetime Achievement Award
George Fontaine, Sr.
Legacy of Americana Award (Presented in partnership with the National Museum of African American Music)
Bettye LaVette
Lifetime Achievement
Patty Griffin
The Avett Brothers
Spirit of Americana / Free Speech in Music Award
Allison Russell
Trailblazer Award
Nickel Creek
Photo Credit: Bettye LaVette by Danny Clinch; Allison Russell by Laura E Partain; Billy Strings by Jesse Faatz; SistaStrings by Samer Ghani.
Artist:Buddy & Julie Miller Hometown: Nashville, Tennessee Song: “I’ll Never Live It Down” Album:In The Throes Release Date: September 22, 2023 Label: New West Records
In Their Words: “This is a song about capricious love and the heartbreak it brings. Sometimes Julie will write a song for me and I need to live in it a while – both as a singer and guitar player. We recorded the ‘demo’ in the upstairs studio that pocket doors open into from our bedroom. Julie couldn’t help but hear as I learned and tried to develop the song and she was quick to correct me when I strayed from her melody – even the tiniest bit. She’s usually not like that, but with this song she wanted the melody exactly how she wrote it. I normally honor the melody, every note is there for a reason, but sometimes a little turn or flourish sneaks in. Not on this song. It took me a while to get a guitar/vocal I could listen back to without cringing. Not cringing is my measure of success. I don’t like listening to myself sing.
“I added a simple piano and I was OK enough with this upstairs ‘demo,’ and didn’t think I could beat it. I am accustomed to recording ‘live’ in a room with all the musicians. I dig looking at and responding to each other as the track is recorded. But not this time, I let my ‘demo’ play back while Viktor Krauss, Tim Lauer and Fred Eltringham played to it. I sat in the control room with Mike Poole and Julie and listened. A different experience for me and actually more enjoyable. There’s all kinds of ways to make a record. That’s how we made this one. I hope you like it.” – Buddy Miller
Hiss Golden Messenger is wrapping up the year with an unexpected delight: O Come All Ye Faithful. Along with the familiar title track, the set gathers a few other hymns (“Joy to the World,” “Silent Night”) and three new songs written by Hiss Golden Messenger’s MC Taylor. The lead track, “Hung Fire,” echoes the feeling of the artist’s album from earlier this year, Quietly Blowing It. Meanwhile, it winds down with a warm cover of Creedence Clearwater Revival’s “As Long as I Can See the Light.”
As for that album cover? It’s an homage to Emmylou Harris’ classic Christmas collection, Light of the Stable. Indeed, both projects provide a subtle (and often lovely) interpretation of seasonal music. On O Come All Ye Faithful, Taylor puts a different spin on “Shine a Light” by Spiritualized as well as “Hanukkah Dance” by Woody Guthrie. He also wrote three new songs for the album.
“Big, brash holiday music — the type that we hear in big-box stores in the middle of December — has never resonated with me, and this past year it felt absolutely dissonant. I wanted to make a seasonal record that felt more in step with the way that I, and so many others, experience this time of year: quiet, contemplative, searching and bittersweet,” Taylor says. “The intention was to make a seasonal record with vibe.”
Special guests on O Come All Ye Faithful include Erin Rae and Buddy Miller, along with members of Hiss Golden Messenger’s extended family. For example, speaking about one of the album’s new tracks, Taylor states, “‘Grace’ is about keeping a light for those that are struggling or lost or confused or grieving: the gone ones, our children, poets, teachers. My friends Nathaniel Rateliff, Aoife O’Donovan and Sonyia Turner help me on the choruses.”
At BGS, we’ve been a fan of Hiss Golden Messenger from the start, so we’ll be sharing some of our archived content on our site and socials, like this interview from June 2021. And in the coming weeks, we will present an exclusive interview with MC Taylor — along with plenty of other holiday content.
As we begin to say goodbye to the year, we’re grateful for the music we’ve received in 2021 and we look forward to more. Season’s greetings to all, and please enjoy this BGS Essentials playlist for Hiss Golden Messenger below.
2020 was a year of many things – COVID-19, existential elections, the shuttering of the music industry, and on and on – but one common, non-catastrophic throughline of the musical variety was cover songs. Many musicians and artists, finding themselves with more free time than usual and more standard-fare albums and cross-continental tours back-burnered, took the opportunity to explore live records, collaborations, and yes, covers. From Molly Tuttle to Wynonna, livestreams to socially-distanced shows, covers became an unofficial pandemic pastime.
Now, in 2021, many of these cover projects conceived and created in 2020 have made it to store shelves – digital and otherwise – and we’ve collected ten tributes worth a listen:
Shannon McNally covers Waylon Jennings
It’s fitting that Shannon McNally released The Waylon Sessions on Compass Records, whose headquarters now occupies “Hillbilly Central.” As Tompall Glaser’s former studio, the building helped give rise to country’s outlaw movement and it’s where Waylon himself recorded. With guests like Jessi Colter, Buddy Miller, Rodney Crowell, and Lukas Nelson, the project recontextualizes Waylon Jennings’ material, which is usually associated with hyper-masculine wings of the country scene. As McNally puts it in a press release, “What Waylon Jennings brought to country music is what country music needs right now, and that unapologetic and vulnerable sense of self are what women are tapping into artistically right now as the industry evolves.”
Steve Earle covers Justin Townes Earle
Many a musical child has covered their parents’ catalogs in retrospect, but it’s rare that we see the reverse. A gorgeous, gutting, and laid-bare album, Steve Earle’s J.T. is a ten-song tribute to his son, Justin Townes Earle, who passed away suddenly in August 2020, shocking the Americana and folk communities. Earle’s signature emotion bristles and crackles throughout the project, giving Justin Townes’ songs an even stronger quality of visceral electricity. Proceeds from the album will go to a trust for Etta St. James Earle, Justin Townes’ daughter and Steve’s granddaughter.
The Infamous Stringdusters cover Bill Monroe
Spread out from North Carolina to Colorado and beyond, the Infamous Stringdusters utilized home recording from their respective studios during the pandemic to accomplish musical creativity their jam-packed schedule hadn’t really allowed in the “before times.” Their brand new EP, A Tribute to Bill Monroe, returns the virtuosic jamgrass outfit to territory familiar to those who first found the group when they were cutting their teeth, striding out from traditional bluegrass into the vast, expansive newgrass-and-jamgrass unknown. The project illustrates that the true strength of this ensemble is found in utilizing traditional bluegrass aesthetics for their own creative purposes. For example, you might listen through the entire record without realizing the Stringdusters made a Bill Monroe tribute album without mandolin!
Mandy Barnett covers Billie Holiday
Mandy Barnett is a cross-genre chameleon; between her talent, her voice’s timeless Americana tinge, and her appetite for classics — from Nashville staples to the American songbook — she often finds herself reaching far beyond Music Row and classic country to R&B, standards, and in her most recent release, Billie Holiday covers. Every Star Above was recorded in 2019, pre-pandemic, and includes ten songs from Holiday’s 1958 Lady in Satin album – songs previously also covered by Frank Sinatra, Dinah Washington, and many, many others. The project feels akin to Linda Ronstadt’s pop and big band forays, never fully detached from Barnett’s country roots, but built atop their solid foundation. In another Ronstadt-esque move, Barnett partnered with recently departed jazz arranger Sammy Nestico; Every Star Above was the award-winning composer’s final project.
Charley Crockett covers James Hand
Country-western crooner Charley Crockett is truly prolific, having released nine full-length albums in the past six years. As the story goes, before his friend, acclaimed Texan singer-songwriter James “Slim” Hand passed away unexpectedly about a year ago, Crockett promised he would record his songs. “Lesson in Depression” captures the sly, winking quality of the best sort of sad-ass country, which isn’t burdened by its own melodrama. While it’s certain Crockett (as Tanya Tucker would put it) would have rather brought Slim his flowers while he was living, there’s a poignancy in how 10 For Slim – Charley Crockett Sings James Hand, like Earle’s J.T., immediately demonstrates how these impactful musical legacies will live on.
Lowland Hum cover Peter Gabriel
Lowland Hum’s album covering Peter Gabriel’s So — which they’ve cutely and aptly entitled So Low — began as a passing joke, but the folk duo of husband-and-wife Daniel and Lauren Goans followed the passion and fun that led them to Gabriel’s hit 1986 release, quickly unspooling the passing whim into inspiration for a full-blown project. “We already loved the iconic record, but in translating Gabriel’s melodies and otherworldly arrangements,” they explain on their website, “we fell even deeper in love with the songs, Gabriel’s voice, and his uncanny ability to fully inhabit both vulnerability and playfulness…” Their “quiet music,” minimalist approach is well suited to the material and the entire project is incredibly listenable, comforting, and subtly envelope-pushing.
Chrissie Hynde covers Bob Dylan
After The Bard released “Murder Most Foul” and “I Contain Multitudes” early in 2020 (and in the pandemic) founder, singer, songwriter, and guitarist for The Pretenders Chrissie Hynde was inspired to once again revisit Dylan’s catalog – a limitless fount of material with which she was already intimately familiar. Her new album, Standing in the Doorway, features nine Dylan tracks recorded with fellow Pretenders guitarist James Walbourne – almost exclusively via text message – and for their coronavirus YouTube video series. Hynde opts for deeper cuts, showcasing her affinity for swaths of Dylan’s career often overlooked by other would-be cover-ers. This classic, “Tomorrow is a Long Time,” feels appropriately sentimental and longing, a perfect encapsulation of the day-to-day of the realities of the pandemic, filtered through a Bob Dylan lens and Hynde’s distinctive voice.
Various Artists cover John Lilly
John Lilly is a songwriter’s songwriter. Based in West Virginia, his original music has been covered by modern legends like Tim O’Brien, Kathy Mattea, and Tom Paxton. April In Your Eyes: A Tribute to the Songs of John Lilly gathers various artists from the folk, old-time, and bluegrass communities – in West Virginia and otherwise – spotlighting the incredible depth and breadth of Lilly’s catalog. The title track is stunningly rendered by Maya de Vitry and Ethan Jodziewicz, who were connected with Lilly originally through West Virginia’s iconic old-time pickers’ gathering affectionately referred to as “Clifftop.” Paxton, O’Brien, and Mattea all make appearances on the project, as do Brennen Leigh & Noel McKay, Bill Kirchen, and many other members of Lilly’s musical family and inner circle, giving the project an intentional and intimate resonance.
American Aquarium cover ’90s Country Hits
BJ Barham’s American Aquarium dropped a surprise album, Slappers, Bangers, & Certified Twangers: Volume One in May. Featuring ten covers of some of the band’s favorite ‘90s country hits, it’s a dose of all-star-tribute-concert packaged in a pandemic-friendly stay-at-home-form – and available on John Deere Green vinyl, of course. One particularly sad casualty of the coronavirus pandemic has been these sorts of musical nostalgia bombs – when was the last time any of us attended a theme night or tribute show at say, the Basement East in Nashville or Raleigh, NC’s The Brewery? – and Slappers, Bangers, & Certified Twangers has us in the mood to attend the first ‘90s country covers live show possible now that things are finally reopening.
Various Artists cover John Prine
A year without Prine seems far, far too long to travel with such a Prine-shaped hole in our musical hearts. But his presence and legacy certainly still loom large; the Prine family has announced “You Got Gold: Celebrating the Life & Songs of John Prine,” a series of special concerts and events held across various venues in Nashville in October. Oh Boy Records is also planning to release a new tribute record, Broken Hearts and Dirty Windows: Songs of John Prine, Vol. 2, to coincide with You Got Gold. The first two tracks from the project that have already been unveiled feature Sturgill Simpson performing “Paradise” and Brandi Carlile’s rendition of “I Remember Everything,” which you can hear above. Each month until October, the Prine family and Oh Boy will release another song from the project, unveiling special guests who each pay tribute to Prine, his songs, and the enormous vacuum his loss has left in the roots music industry.
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