Artist:Donovan Woods Hometown: Sarnia, Ontario, Canada Song: “Back For The Funeral” Album:Things Were Never Good If They’re Not Good Now Release Date: July 12, 2024 Label: End Times Music
In Their Words: “‘Back For The Funeral’ is a story that a lot of us end up experiencing. Big life events – deaths, births, divorces – seem to pull us out of the flow of time somehow. The days around these events can feel like a dream wherein the regular rules of our lives don’t apply. People fall back onto old habits or maybe construct a new temporary-self to shield them from grief or shock. What I like best about this song is that it reflects that dream-like feeling without sacrificing clarity. It feels the way those life-dividing days feel. I wrote it with Lori McKenna and Matt Nathanson. I’m about as proud of it as anything I’ve written. I hope it’s useful to people.” – Donovan Woods
Track Credits: Written by Donovan Woods, Lori Mckenna, Matt Nathanson.
Acoustic guitars, vocal, piano – Donovan Woods Synths, drum programming – James Bunton Bass – Mark McIntyre Strings – Drew Jurecka
Recorded in Toronto at Union Sound Company – Studio B, Small Dog Sound.
BGS first had the opportunity to work with singer, songwriter, multi-instrumentalist, and composer Kaia Kater all the way back in 2016. She appeared on our inaugural Shout & Shine showcase stage that year at the International Bluegrass Music Association’s business conference in Raleigh, North Carolina. It was the first ever showcase celebrating diversity at the headline bluegrass event and it was also where I met her for the first time in person. We were both panelists for another first-ever, IBMA’s round-table style panel on inclusion that was convened the day after Shout & Shine. Partially planned in response to North Carolina’s just-passed transphobic measure, HB2 – one of the first anti-trans “bathroom bills,” beginning what would become a nearly decade-long and as yet unfinished battle in state houses around the country for equal rights for trans folks – the panel’s format was all about direct conversation and reaching folks where they were at.
A grassroots collective of musicians, artists, and industry professionals who represented often marginalized identities in bluegrass had decided enough was enough, we would have to stake out and hold space at IBMA’s conference to have these long overdue conversations about who is and who isn’t excluded from these roots music genres and what we can do to make all folks feel safe(r) and at home in these communities we love. Kater was right there, engaging and often leading dialogues on these important subjects. A handful of days later, she published her first byline on BGS, an incisive, compassionate, and necessary op-ed on Breaking the Wheel of Silence – calling out all too common “closing of ranks” and music industry status quos that reinforce and protect misogyny, patriarchy, and systems of sexual harassment and sexual violence and their perpetrators.
In short, Kater has long been a thought leader in roots music, especially in bluegrass, old-time, and our BGS family. We’ve been fortunate to get to collaborate with her in various ways on that vital work, from having her writing published on our site and in our year end round-ups to covering her own art and roots music creations.
Luckily, the music she crafts and the messages within it make it infinitely easier to spotlight these often touchy and incredibly nuanced issues. From her debut, 2015’s Sorrow Bound, to 2016’s impressive Nine Pin – which some call her “break out” record – Kater has been spinning complex and entrancing roots music threads that draw on her lived experiences as a Canadian-Grenadian banjo player and lifelong folk musician, turning over and examining what are often called “thorny” or “divisive” issues. Her music grounds abstract and theoretical concepts in the past, present, and future. But her songs don’t sound mired in these issues or concepts at all, just the opposite.
Over the course of her career, from her teens and young adulthood to today, on the cusp of releasing a new album, Strange Medicine (out May 17 via Free Dirt Records), this singular perspective Kater has cultivated continues to blossom, grow, and come into sharper focus. 2018’s Grenades, a sort of concept record placed decidedly in the Caribbean and tracing Kater’s roots back to the beautiful island of Grenada, processes generational traumas, the machinations and intricacies of culture, the nebulousness of belonging, and so many other colors and textures decidedly at home in folk music, but enlivened constantly through Kater’s creative lens. Grenades is a master work, demonstrating a creator and musician who knows who they are – even when they do not.
Six years later, enter Strange Medicine, another album masterpiece that finds Kater still more confident, more at ease, and just as convicting. Genre parameters, her prior records, and her strong positioning of community are all present here, but perhaps not as directly. Instead, Strange Medicine seems to be grown from the fertile, rich, and dense soil of Kater’s career to this point. There are indirect touches of all of the above, but overall this collection feels brand new. It is a novel synthesis of her values systems and worldview, one that feels assured while still exploratory, firm but flexible, responsive but not reactive. Strange, indeed, but never odd (or estranged).
With stunning collaborations with Taj Mahal, Allison Russell, and Aoife O’Donovan – who is featured on “The Witch,” a track made available today – Kater demonstrates how, more than ten years since she began her professional trajectory, her music shines with cross pollination, positioning the community members who helped shape her own music within that very body of work. It’s part of why her new band, New Dangerfield – with Jake Blount, Tray Wellington, and Nelson Williams – can be called a supergroup, though that moniker immediately feels reductive. Kater and her cohort are no longer simply adding their voices to an ongoing conversation, they are the conversation. The center of gravity – in folk, old-time, bluegrass, Americana, and beyond – has shifted, and with that shift we see Kater, many of her peers in her generation, as well as those collaborators and influences who came before continually advancing these discourses.
Her medium, as always, is music. Her dialogue, as always, is not simply with those who choose to consume her art, but specifically with those who engage with it, try it on, turn it inside out, and kick the tires. This is music that will stand up to that sort of holistic interaction. It’s infinitely listenable, incredibly fun, and grooving, too; Strange Medicine might be the danciest record in Kater’s catalog. It’s intellectual, yes, but more than that, Kater shows us that music can be nutritious, challenging, and dense while effervescent, joyful, and soaring.
All month long, we’ll be celebrating our pal, collaborator, and constant source of inspiration Kaia Kater as our Artist of the Month. Below, enjoy our Essential Kaia Kater Playlist and watch for an exclusive AOTM interview coming in just a couple of weeks, too.
Back then in 2015 and 2016, when we were just introduced to Kater and her music, if you had asked any of us if we’d expect her to be our Artist of the Month someday, down the line, I think almost any of us would’ve responded with a resounding, “Yes!” So we’re especially proud to celebrate Strange Medicine and Kaia Kateras our May Artist of the Month.
In Their Words: “Andrew and I wrote this tune together about 20 years ago. It was the first of May and we spent it in the sun, picking fiddle tunes, looking at flowers, and getting in the groove with the mycorrhizal network. This melody revealed itself to us in the early afternoon, setting the vibe for the rest of the day. I’ve always found this tune beguiling. It’s hard to put your finger on its mood; to me, it’s ultimately hopeful, but it has to go through a lot before it gets there! I’ve recorded ‘May Day’ three times now; each version is very different. I can’t seem to keep away from this tune! It was so wonderful for John and me to have the chance to collaborate with Andrew, Adam, and James on this release!” – Chris Coole, the Lonesome Ace Stringband
Track Credits:
Andrew Collins – Mandolin Chris Coole – Banjo James McEleney – Bass Adam Shier – Guitar John Showman – Fiddle
Video Credits: Edited by Chris Coole. P.D. archival footage filmed by Arthur Edward Pillsbur from the Prelinger Collection. Photo Credit: Andrew Collins Trio by Andrew Collins; the Lonesome Ace Stringband by Jen Squires.
Aren’t Fridays the best day of the week? And no, not just because of the five-day work week, but really because it’s New Music Friday, of course!
This week, we’re featuring premieres like a thoughtful and introspective number from singer-songwriter Aisha Badru, a Bonnie Raitt cover from husband-and-wife bluegrass duo Benson with Keith Garrett lending lead vocals, a thoughtful track about cyclical national, cultural, and romantic traumas from Jessye DeSilva, and Lynne Hanson brings a new song about how some folks are just plain rotten.
There’s a little bit of everything for every kind of roots music fan, and if we do say so ourselves, You Gotta Hear This!
Aisha Badru, “Life to Live”
Artist:Aisha Badru Hometown: Yonkers, New York Song: “Life to Live” Label: Nettwerk Music Group
In Their Words: “‘Life To Live’ is a song deeply rooted in my personal journey. It explores the importance of introspection and understanding what truly brings us joy and fulfillment. For me, that meant leaving the traditional path of college to pursue music, even if it wasn’t initially supported by my family. This song isn’t just about following our dreams, it’s about the growth and self-discovery that happens along the way.” – Aisha Badru
Benson, “Louise”
Artist:Benson Hometown: Boiling Springs, South Carolina Song: “Louise” Release Date: March 22, 2024 Label: Mountain Home Music Company
In Their Words:“We’ve always been big fans of Keith Garrett. He’s got such a warm vocal tone and always chooses a great way of delivering the song. We were excited to have him sing a couple and felt really lucky that he said yes.” – Kristin Scott Benson
“Back in the early 1990s, I heard Bonnie Raitt’s album, Luck of the Draw. After becoming a fan and going back to her earlier projects, I came across a live video with her version of ‘Louise.’ I always thought it would make a fun bluegrass song because of the chord progression and I think Keith and Dustin sang it great.” – Wayne Benson
Track Credits: Wayne Benson – Mandolin Kristin Scott Benson – Banjo Cody Kilby – Acoustic guitar Tony Creasman – Drums Kevin McKinnon – Bass Keith Garrett – Lead vocal Dustin Pyrtle – Harmony vocals
Jessye DeSilva, “Gallows Tree”
Artist name:Jessye DeSilva Hometown: Boston, Massachusetts Song: “Gallows Tree” Release Date: March 22, 2024
In Their Words: “‘Gallows Tree’ is all about the ghosts of our traumas and our misdeeds and what happens when we leave things unsaid. In the U.S. particularly, I think there is a sickening and cyclical nature to the things we repress and rebrand in denial. White couples rent plantations as backdrops for their quaint country weddings where Black bodies were broken not so long ago. We refuse to learn from the mistakes of our parents and remain complicit in the face of brutal inhumanity. In ‘Gallows Tree,’ a pastoral scene of a romantic picnic is painted, where two lovers sip iced tea on a blanket beneath the shade of a tree, while something simmers unspoken just beneath the surface. This could easily be a song about love left to dry with the years, but the lovers are all of us who remain reticent with hearts tight as fists. And now a tire swings gently from the gallows tree.” – Jessye DeSilva
Track Credits: Music and lyrics by Jessye DeSilva and Alex Calabrese. Jessye DeSilva – Vocals, piano Alex Calabrese – Acoustic guitar, background vocals Joe Dunn – Producer, bass, electric guitar, banjo, percussion programming
Lynne Hanson, “Outlaw Lover”
Artist:Lynne Hanson Hometown: Ottawa, Ontario, Canada Song: “Outlaw Lover” Album:Just A Poet Release Date: March 22, 2024 (single); May 24, 2024 (album) Label: Panda Cave Records
In Their Words: “Some people are just rotten to the core. For this song, I really wanted to paint a picture of the ultimate heartbreak artist, someone callous and uncaring who leaves a trail of victims in their wake. The kind of person your mother warned you to stay away from.
“It was a lot of fun to arrange this song in the studio. We chose an almost hypnotic groove to really give it a sexy, black-leather swagger, and the song hits its bad attitude crescendo with the nasty fuzz of Blair Michael Hogan’s guitar solo. I actually wrote this song by starting with the lyrics first, which is the opposite of my normal songwriting process. It was a real challenge to come up with the music, and I had three versions of the song before I finally settled on this one.” – Lynne Hanson
Track Credits: Written by Lynne Hanson.
Lynne Hanson – lead vocal Jim Bryson – acoustic guitar, electric guitars, piano, organ, mellotron Blair Michael Hogan – electric guitar, slide guitar Philippe Charbonneau – bass Marshall Bureau – drums
Jim Bryson – recording engineer Recorded at Fixed Hinge Studios, Stittsville, Ontario. Produced by Jim Bryson. Mastered by Phil Shaw Bova, Bova Lab Studio, Ottawa, Ontario. Mixed by Jim Bryson, Fixed Hinge Studios.
Photo Credit: Aisha Badru by Jeffery Trapani; Benson by Sandlin Gaither.
This week, our premiere round-up is chock-full of amazing new music. From a Chris Stapleton co-write from bluegrass-meets-country supergroup Wood Box Heroes to a Terry Baucom tribute from bluegrasser Ashby Frank, plus songs from Americana singer-songwriter Jack McKeon, guitarist Yann Falquet, and Asheville’s Holler Choir.
Plus, don’t miss exclusive premieres from banjo magnates Alison Brown and Steve Martin, and a posthumous release from Chick Corea with his friend and collaborator Béla Fleck.
It’s all right here on BGS – and really, You Gotta Hear This!
In Their Words: “‘Cannonball’ is a song I wrote a while back with Chris Stapleton. I was trying to figure out a new way to talk about the ‘love and war/love as war/love is war’ theme and of course, Chris helped to bring that to life so well. I never made a demo, just the voice memo. Hearing Chris’s amazing singing on it could be a daunting thing for lots of artists to get past, but I knew Josh Martin could handle it, so I pitched it to the Heroes for this project. It took a while to sink in with them, but I’m beyond thrilled with the treatment they gave it!” – Barry Bales
Track Credits:
Barry Bales – upright bass, vocals Jenee Fleenor – fiddle, vocals Josh Martin – guitar, vocals Matt Menefee – banjo Seth Taylor – mandolin, vocals
Produced by Wood Box Heroes. Recorded by Brandon Bell at Sound Emporium; Nashville, Tennessee. Mixed by Brandon Bell. Mastered by Eric Conn at Independent Mastering; Nashville, Tennessee.
Ashby Frank, “Knee Deep in Bluegrass”
Artist:Ashby Frank Hometown: Nashville, Tennessee Song: “Knee Deep In Bluegrass” Release Date: March 15, 2024 Label: Mountain Home Music Company
In Their Words: “‘Knee Deep in Bluegrass’ is a tune written and originally recorded by my friend and former Mashville Brigade bandmate, banjo legend Terry Baucom. Sadly, Terry passed away in December. When we recently gathered to start recording my next album, it happened to be the day after his funeral. All of us had Bauc and his wife, Cindy, on our minds. Remembering this song, I messaged Cindy, asking if it would be ok to record a slightly modified version of ‘Knee Deep’ as a tribute to him and she graciously approved. Bauc was performing at the first festival I ever attended in Denton, NC. His style and persona has been an inspiration to me ever since that first meeting. I think Matt Menefee, Travis Anderson, Jim Van Cleve, Seth Taylor, and Tony Creasman really nailed their parts on the tune. I hope our recording brings back fond memories for anyone who knew Terry and will honor him as he so richly deserves.” – Ashby Frank
Jack McKeon, “Last Slice of Heaven”
Artist:Jack McKeon Hometown: Chatham, New York; currently residing in Nashville, Tennessee Song: “Last Slice of Heaven” Album: Talking to Strangers Release Date: June 21, 2024
In Their Words: “I was working at a house in Williamson County, on a stretch of road that is flanked by two separate but equally cookie-cutter developments. Across from this house and squarely in the middle of all this new, was a vacant field, a decrepit barn festering in the corner. At some point that field must have meant food, crops, and a living. Now it seems to only conjure the image of an older person sitting on a potential windfall when they sell out to a developer. But with all that money comes the death of the beautiful things that made that life worth living. My boss noticed me looking at this field and facetiously said, ‘Oh, didn’t you know? These developments all come with their own complimentary field to look at.’ I wrote this song to give a voice to the person I imagined holding on to this ‘Last Slice of Heaven,’ a character at odds with the transformation around him who’s fighting to hold on to his own identity in spite of ‘a world that’s always changing what it means to be the same.'” – Jack McKeon
Track Credits:
Jack McKeon – Guitar/vocal Ashby Frank – Mandolin/harmony vocal Vickie Vaughn – Upright bass/harmony vocal Christian Sedelmyer – Fiddle Justin Moses – Banjo Engineered by Sean Sullivan at the Tractor Shed Goodlettsville, Tennessee. Mastered by Justin Perkins at Mystery Room Mastering.
Video Credit: Brooke Stevens
Yann Falquet, “Courage”
Artist:Yann Falquet Hometown: Brattleboro, Vermont Song: “Courage” Album:Les secrets du ciel Release Date: March 15, 2024 (single); May 3, 2024 (album)
In Their Words: “I moved from Québec to New England a couple of years ago. My instrumental background was compatible with the fiddle styles I encountered here (Appalachian, Irish, Scottish, etc.), but I quickly realized that I had to rethink the way I approached songs. Back in French Canada, traditional singers often perform unaccompanied, and rely heavily on others in the room to participate in the ‘response’ part of call-and-response songs. For this project, I began reframing these songs into a more English or American ‘folk singer’ format, and had a lot of fun coming up with interesting guitar parts in DADGAD tuning. I then collaborated with producer Quinn Bachand and a bunch of fantastic musicians to add extra musical layers to the song.
“‘Courage’ comes from the repertoire of the Voyageur folks who paddled across North America, using songs to keep paddling in rhythm. It tells the story of a young soldier who abandons war for the pursuit of love, knowing well the consequences if he gets caught.” – Yann Falquet
Track Credits:
Yann Falquet – Guitar, voice Julia Friend – Voice Keith Murphy – Pump organ Trent Freeman – Violin Quinn Bachand – Violin, bass pedal
Quinn Bachand – Producer, engineer Charles-Émile Beaudin – Mixing engineer Philip Shaw Bova – Masterin engineer
Holler Choir, “Hamlet Blues”
Artist:Holler Choir Hometown: Asheville, North Carolina Song: “Hamlet Blues” Album:Songs Before They Write Themselves Release Date: January 12, 2024
In Their Words: “I can’t speak to everyone else’s tastes, but for the purpose of songs that I perform and have written, ‘Hamlet Blues’ is my most timeless song. I know this because 10 years after having written it, it’s just now seeing a definitive release, and it feels no less personally relevant than the day I wrote it.
“There’s a very intentional juxtaposition between the carefree energy of the music and the existential crisis portrayed in the lyrics. It’s a cognitive dissonance that I’ve experienced in different settings many times in life, and I chose to channel that energy into this song. There’s a smiling nihilism that can be found at any college bar. Kids drinking to excess, with little regard for what’s happening tomorrow. Seemingly happy people, sitting on a fault line that is long overdue. I wanted to capture the dread that was the humming drone in my head beneath whatever pop song was blaring over the bar speakers at the time. I don’t find this sentiment any less relevant for bars I go into as an adult.” – Clint Roberts
Alison Brown & Steve Martin, “Bluegrass Radio”
Artist:Alison Brown & Steve Martin Hometown: La Jolla, California (Alison); Waco, Texas (Steve) Song: “Bluegrass Radio” Release Date: March 15, 2024 Label: Compass Records
In Their Words: “This little tune brings a ton of joy to me. Alison’s playing is flawless, and my singing is flaw-full.” – Steve Martin
Artist:Chick Corea & Béla Fleck Hometown: Nashville, Tennessee Song: “Remembrance” Album:Remembrance Release Date: May 10, 2024 Label: Béla Fleck Productions (Thirty Tigers)
In Their Words: “’Remembrance’ is one of the last pieces of music Chick ever recorded. It’s just one of those perfect Chick Corea tunes. It sounds to me like a New Orleans funeral march, even though it has a Latin component, like everything he did tended to.” – Béla Fleck
Canada’s Talia Schlanger is best known for her work in broadcasting, guest-hosting Q with Tom Power on CBC and Alec Baldwin’s “Here’s the Thing” podcast, as well as having taken over for David Dye on NPR Music’s World Cafe from WXPN in Philadelphia. Before all that, Schlanger was an actor and singer in many theater productions including Mamma Mia, Queen’s We Will Rock You, and Green Day’s American Idiot. While she has found much success in her two previous careers, something has been pulling on Talia for years. She wanted to write, record, and perform her own music. She had something to say and made the brave leap into the unknown, leaving her coveted role at World Cafe in order to say it. This culmination of events has led Talia to her debut album, Grace for Going.
In our conversation, Schlanger shares insights into her upbringing in Thornhill, Ontario within a Jewish family deeply rooted in faith and family heritage. She reflects on the impact of her grandparents, Holocaust survivors whose stories shaped her childhood. Talia also talks about her unique journey from performing eight shows a week in theater productions to becoming a distinguished radio host. Her evolution as a singer, her bravery and some important boundaries have allowed her to find her authentic voice while maintaining a crucial work-life balance. Throughout the interview, she touches on themes of personal growth, acts of kindness, and her commitment to learning and curiosity, offering a fascinating glimpse into the life and career of this remarkable person.
Rachael Kilgour unravels the layers of her late father on the album, My Father Loved Me. Recorded in the cold of Toronto and produced by Rose Cousins (who also joins us for this conversation), this album carries the essence of Canadian roots and is a profound exploration of family heritage through the lens of an ordinary, hard working, and humble man who died in 2017. Duluth-born Rachael, and Rose, based in Halifax, reflect on their cold weather experiences, infusing the recording process with warmth despite the chilly Canadian setting.
The core of our discussion revolves around Rachael’s deep emotional connection to the album, particularly her poignant exploration of the father-daughter relationship amidst the challenges of dementia. We navigate the themes of grief, death, and identity while learning about Rachael’s father, his impact, and how he continues to live on through Rachael’s personality and idiosyncrasies. They shared the struggle of anxiety and self-doubt, which the songwriter addresses on the album. We also get a look into Rose’s perspective on Rachael’s growth and the impact the vulnerable creative process has had on her songwriting. And then, we wrap it all up with a very fun Dad-themed lightning round.
Artist:Lonesome Ace Stringband Hometown: Toronto, Ontario, Canada Latest Album:Try to Make it Fly
(Editor’s Note: Answers provided by Lonesome Ace Stringband banjoist Chris Coole.)
Which artist has influenced you the most … and how?
Although I think the answer for each of us individually would be different, I think the most obvious single influence on us as an ensemble would be John Hartford. Specifically, the last several albums he made with the “John Hartford Stringband” (which featured Bob Carlin and Mike Compton, among others). Their approach to playing old-time fiddle tunes, especially on the albums Wild Hog In the Red Brush and Speed of the Old Long Bow, was based on a highly improvised and reimagined way of playing backup that Hartford called “Windows.” Although it wasn’t a conscious decision, and we don’t follow the approach to the letter, I think the spirit of those albums really influenced the way we play and perform old-time music, especially (instrumental) fiddle tunes.
What other art forms — literature, film, dance, painting, etc. — inform your music?
As a band, I think the art form outside of music that has had the biggest impact is the crank (prank) phone call. For years we’ve been listening to the Jerky Boys. We are old enough to remember the late ’80s and early ’90s when underground Jerky Boys cassette tapes were passed around organically and treasured by all who were lucky enough to possess them. About five years ago, the guys from The Henhouse Prowlers introduced us to Longmont Potion Castle, who has been anonymously releasing psychedelic crank calls since the ’80s (he’s still at it). You might think I’m being tongue in cheek when I say that these influence us as a band, but the attention to detail – especially in regard to language – and the level of improvisation are both relatable to music and inspiring. Most importantly though, it’s a great reminder that we live in a crazy world, and it’s best not to take yourself or anyone else too seriously.
What rituals do you have, either in the studio or before a show?
We like to get our heart rates up before a show if possible and maybe a bit of stretching. This often involves us having an aerobics dance party to ’80s pop and new wave. “Betty Davis Eyes” by Kim Carnes is a favorite, as is “Dance Hall Days” by Wang Chung. [John] Showman favours doing some version of the “Mountain Climber” while Max [Heineman] and I are usually doing jumping jacks, dancing on the spot, or some sort of hippie clogging. Seeing three middle-aged men dancing around in the green room to The Pretenders or Blondie seems to warm the hearts of promoters and venue staff and there are probably bootlegged videos of us doing it circulating around.
If you had to write a mission statement for your career, what would it be?
The title of our new album is Try to Make it Fly. That is a line from one of the songs called “Sweeter Sound.” I’d say that song encapsulates what our mission as a band is. We are all in our 50s and have been playing music professionally (mostly full time) since we were teenagers. That song is about not giving up, even when everything might seem to be pushing you in the other direction. It’s about keeping sight of what’s important – community, friends, family, art – and letting the quality of those things in your life be the gauge of your success. With where we are in our lives and careers, that seems to be the only way forward.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
There’s a song on the new album called “Smoke on the Shoulder” which is basically a recipe for smoking pork shoulder. We all love to cook and appreciate good food. We rarely miss a chance to stop at a good BBQ joint when tour routing allows. With this in mind, I’m going to say the food would be smoked brisket and pulled pork with sides of coleslaw, beans, and macaroni. The musical accompaniment to this meal would be provided by, none other than, George Jones.
Artist:Ethan Lyric Hometown: Winnipeg, Manitoba, Canada Song: “I Love You More” Album:Saskatoon Berries EP Release Date: October 13, 2023 (single); December 1, 2023 (EP)
In Their Words: “The music video was shot in Vancouver, British Columbia, throughout the beautiful area of North Van alongside my cinematographer and long-time collaborator, Carter Heintz. Showing the journey and navigation of love through the simple and fun lens my music always tries to provide.
“The inspiration for this project as a whole came from a lot of artists and things in my life at the time. This single and my upcoming EP, Saskatoon Berries, take a lot of inspiration from the musicians I grew up hearing on YouTube – like Conan Gray, Cavetown, and Chloe Moriondo. All these people create music that just makes you feel at ease and want to smile, and that’s how I would love my music to be received as well. I feel this project was also deeply influenced by the process of finding myself and my identity. I always like to say that being an Indigenous artist, whether you write explicitly about Indigenous culture or not, your culture is one of the biggest inspirations to your art so I feel obviously that was a large inspiration as well.” – Ethan Lyric
Track Credits: Songwriter – Ethan Lyric
Musicians: Ethan Lyric – vocals, guitar Jeremy Haywood Smith (JayWood) – bass Brett Tizcon – keys Anil Ramgotra – drums
Producer – Jeremy Haywood Smith (JayWood) Recording engineer – Jeremy Haywood Smith (JayWood) Mixing – Art Antony Mastering – J. LaPointe (Archive Mastering)
Photo Credit: Julio Assis (BNB Studios) Video Credits: Cinematographer – Carter Heintz Edited by Ethan Lyric, Carter Heintz Featuring – Matilda Shanks, Victoria McNeil
Artist:Chris Jones & The Night Drivers Hometown: Nashville, Tennessee Song: “Step Out in the Sunshine” Album:Pages In Your Hand Release Date: October 6, 2023 Label: Mountain Home Music Company
In Their Words: “Ralph Stanley’s early 1970s Clinch Mountain Boys lineup of Roy Lee Centers, Jack Cooke, Curly Ray Cline, Keith Whitley, and Ricky Skaggs was a golden era for his band, in my opinion, and in my mid-teens their music was a major influence on me as I was just getting serious about playing music. The gospel album they did, Cry From the Cross, was and remains my favorite bluegrass gospel album of all time. It inspired my lead singing and guitar playing, and without consciously trying to do it, I learned to sing the baritone harmony part from Jack Cooke.
“I still have and cherish the original LP that I bought when I was around 15, though the jacket is a little battered and my name is written in brown magic marker on the back — because, you know, other kids in high school were likely to try to steal my Ralph Stanley records. I wanted to record a song from the album that I hadn’t heard anyone else do and that hadn’t become a Ralph Stanley standard, and so I was drawn to ‘Step Out in the Sunshine.’ We rearranged it slightly to fit our sound but it remains a tribute to the Stanley original.” – Chris Jones
Track Credits: Chris Jones – acoustic guitar, lead vocal Marshall Wilborn – bass Mark Stoffel – mandolin, harmony vocal Grace van’t Hof – banjo, harmony vocal
Photo Credit: Sandlin Gaither
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
