Tag: Country

You Gotta Hear This: New Music From Sister Sadie, Jordan Tice, and More

Posted on by Justin Hiltner

Music is a balm, isn’t it? We’re finding that to be especially true in this week’s edition of our premiere round-up, You Gotta Hear This!

Check out a brand new country track from singer-songwriter Phillip Lammonds. Californian-turned-Nashvillian Jake Neuman and his band the Jaybirds brought us a new video for “Saved” off their recent EP, Little Bitty Town, too. Plus, bluegrass supergroup Sister Sadie keep the country vibes going – with a delicious ’90s bent and bluegrass instrumentation – on their brand new single, “Make Me Stay or Make Me Go.”

You’ll also find guitarist, singer-songwriter, and composer Jordan Tice previewing his new song, “Mean Old World,” which drops on Tuesday, November 12, and announces his upcoming album, Badlettsville. In addition, Rachel Sumner’s Traveling Light Sessions video series continues with a live trio performance of “Head East.”

Also don’t miss Kim Richey performing a short set of songs as part of the AEA Sessions captured at Americanafest earlier this year – it’s the latest in our series partnering with AEA Ribbon Mics.

It’s all right here on BGS and, indubitably, You Gotta Hear This!

Phillip Lammonds, “Who’s Right, Who’s Wrong”

Artist: Phillip Lammonds
Hometown: Nashville, Tennessee
Song: “Who’s Right, Who’s Wrong”
Release Date: November 11, 2025

In Their Words: “I wrote ‘Who’s Right, Who’s Wrong’ when I was thinking back to being a kid really digging into the sounds that came from my papa Parton’s wooden upright RCA radio. I sat criss-cross applesauce on countless summer afternoons, just glued to the tones and the sorcery of it all, wondering where the songs came from. How’d they get in that box? Fast forward a half a lifetime or so, I’m still scratching my head. Anyway, the craft in all this has taught me one thing: songs are like fish, they swim around until you catch ’em!” – Phillip Lammonds

Jake Neuman and the Jaybirds, “Saved”

Artist: Jake Neuman and The JayBirds
Hometown: Bakersfield, California
Song: “Saved”
Album: Little Bitty Town
Release Date: November 8, 2024 (video); June 14, 2024 (EP)
Label: Peacedale Records

In Their Words: “‘Saved’ was the first song I wrote when I moved to Nashville. I remember having the first line or so on paper and feeling like I had something, so I immediately went to my number one writing partner – Amanda McCaslin of McCaslin Blue – and asked her what she thought. We spent the afternoon pacing around the yard and putting a line or two down every few minutes until we put something together that I am really proud of.” – Jake Neuman

Video Credit: Directed by Greg D Griffith

Sister Sadie, “Make Me Stay or Make Me Go”

Artist: Sister Sadie
Hometown: Nashville, Tennessee
Song: “Make Me Stay or Make Me Go”
Release Date: November 8, 2024
Label: Mountain Home Music Company

In Their Words: “‘Make Me Stay or Make Me Go’ brings to mind everything I loved about ’90s country. This was written by three of my favorite writers: Jessi Alexander, Al Anderson, and Gary Nicholson. This song screams sawing fiddles and a good ole line dance. Who didn’t love country music in the ’90s? I feel like it’s creeping around the corner again, too; at least I hope it is. This is all of us Sadies tipping a hat to the country music we love so much with our bluegrass instrumentation and some very talented friends to help.” – Deanie Richardson, fiddle

Track Credits:
Jaelee Roberts – Lead vocal
Deanie Richardson – Fiddle
Gena Britt – Banjo, harmony vocal
Dani Flowers – Harmony vocal
Maddie Dalton – Upright bass
Mary Meyer – Mandolin
Seth Taylor – Acoustic guitar, electric guitar
Dave Racine – Drums, tambourine
Russ Pahl – Pedal steel guitar
Catherine Marx – Hammond B3 organ

Jordan Tice, “Mean Old World”

Artist: Jordan Tice
Hometown: Nashville, Tennessee
Song: “Mean Old World”
Album: Badlettsville
Release Date: November 12, 2024 (single)
Label: Padiddle Records

In Their Words: “‘Mean Old World’ is about the inevitable loss and change that life brings. I wrote it rather quickly while watching my neighbors through the windows as they loaded a U-Haul truck to move out. Something about watching material objects being put into boxes signifying the end of an era of someone’s life really struck a chord with me and I was able to live in the feeling long enough to get this song out. That flood of emotion that occurs when a temporal event marks the end of a chapter you will never return to is a familiar sensation that I’ve felt when I’ve moved myself, while I’ve watch my hometown of Nashville knocked down and changed, and when I’ve lost loved ones and had relationships end. Hope it gives you a good cry.” – Jordan Tice

Track Credits:
Jordan Tice – Guitar, vocals,
Aoife O’Donovan – Harmony vocals
Andrew Marlin – Harmony vocals
Patrick M’Gonigle – Fiddle, mandolin
Paul Kowert – Bass
Sean Sullivan – Recording, mixing,
Mark Goodell – Aoife O’Donovan vocal recording
Mike Monseur – Mastering

AEA Sessions, Kim Richey, Live at Americanafest 2024

Artist: Kim Richey
Hometown: Zanesville, Ohio
Songs: “Chapel Avenue,” “Angels’ Share,” “The Absence Of Your Company,” “Take The Cake”

In Their Words: “I really enjoyed working with the gang at [AEA] Ribbon Mics. The mics are great and the folks are wonderful to work with.” – Kim Richey

“Kim is a treasure. Every song is like a masterclass in songwriting and her voice invites you right into tableaus her songs create.” – Julie Tan, AEA Ribbon Mics

More here.

Rachel Sumner, “Head East” (Traveling Light Sessions)

Artist: Rachel Sumner & Traveling Light
Hometown: Boston, Massachusetts
Song: “Head East” (Traveling Light Sessions)
Album: Heartless Things 
Release Date: November 7, 2024 (video); May 10, 2024 (album)

In Their Words: “‘Head East’ is our next release from Heartless Things (Traveling Light Sessions). It has an extra special place in my heart, because it was the first song I ever wrote. Thirteen years ago, I moved to Boston from the Mojave Desert in California (where I grew up) and felt such a connection with the city and a feeling of possibility that I got there – a feeling I didn’t find in my hometown. This song was a plea to my younger brother to get out and find his good fortune elsewhere, just as I had.

“For this song, Kat Wallace trades her fiddle for the tenor guitar, and Mike Siegel adds a sublime third-part harmony that makes the chorus feel like heaven. ‘Head East’ has had many lives and arrangements, but this one is quite possibly my favorite.” – Rachel Sumner

More here.

Photo Credit: Sister Sadie by Allister Ann; Jordan Tice by Cameron Knowler.

8 Songs for This Exact Moment

Posted on by Justin Hiltner

Where do we go from here?

When you wake up in a world where hatred and fascism have been resoundingly endorsed by so many of your neighbors and fellow citizens, how do you proceed? That question becomes even more daunting at its second or third or umpteenth asking.

Yes, music will play a vital role over the next handful of years, as we continue the fight for justice, self-determination, and agency for all people, in the U.S. and around the world. But music, the arts, and creativity won’t be enough to save us. They won’t be an end-all, be-all solution to the political and cultural hurdles we will have to clear in the near future.

This is a moment that calls for so much more. Solidarity, first and foremost – the idea that, at the beginning or end of the day, all we have is each other – and community, organizing, and advocating for each other will be essential. Mutual aid will be more necessary than ever. Putting our own privilege on the line in order to protect and ensure safety for those more marginalized than ourselves is the task immediately at hand. Showing up – yes, for our country, but more importantly, for our friends and neighbors – is the very next step. Literally and figuratively.

Still, the soundtrack we will all write, that we will all curate, that we will all partake in while opposing the craven and hateful policies being proffered by our would-be dictator will be a powerful tool. Music – especially roots music, country and bluegrass, blues and old-time, folk with a lowercase and capital F, and more – are traditions steeped in populism, in worker’s rights, in justice, in standing up for the downtrodden and beleaguered. There are no better genres for this exact moment. There are no betters artists, musicians, and songs than those in and made by our very community.

BGS and Good Country include in our mission a commitment to intentionally crafting a roots music space, a bluegrass- and country-centered universe, where everyone is welcome, regardless of identity, background, nationality, ethnicity, disability, class, or belief system. We are determined to continue that work, to be a place where – hopefully – anyone and everyone can feel seen, heard, safe, and valid in their love for and appreciation of all things roots music.

As we summon courage for the work ahead and lean on our community, here are eight songs perfect for this exact moment in history, to hold up as we remind ourselves our goals are the same at the end of this week as they were at the beginning: liberty, agency, and self-determination for all. – The BGS & Good Country Team

“Mercy Now” – Mary Gauthier

A modern Americana classic, singer-songwriter Mary Gauthier shared “Mercy Now” on social media very early on Wednesday morning, after the news broke that Trump had won another term. It spread quickly on social media with many a repost and reshare. The message here, of mercy applied broadly, universally, and without qualification, is more than timely. It’s evergreen.

“Crisis” – Aoife O’Donovan

Connecting our current struggle to those of past generations is exactly how we continue to put one foot in front of the other, despite setbacks and losses and despair. Aoife O’Donovan’s latest record, All My Friends, is a perfect intergenerational connecting of the dots, centering women, girls, and femmes, and shines a light on the non-linear track that leads to victory. We know we will continue to return to this music over and over in the future, as a balm and a catalyst for progress.

And, as our friends at Basic Folk reminded us yesterday, Aoife’s and Dawn Landes’ episode of the podcast – which focuses on their similar albums centering women, feminism, and women’s issues – is an incredibly timely re-listen. Find that episode here.

“Sun to Sun” – Alice Gerrard

Looking to our roots music elders in this moment is exactly what we all need! Alice Gerrard’s most recent album, Sun to Sun, and certainly its title track, indicate a kind of perseverance and long view that we all could take on as we face the uncertain future.

With a loping, almost marching rhythm, there’s a grounded, realistic, and convicting approach here on “Sun to Sun.” While we all talk, and talk, and talk, and talk, the problems we face continue unabated and unchallenged. What will we do besides talk?

While we talk another fool goes and buys a gun…

“Listen” – Kyshona

Speaking of talking… why don’t we take a turn at listening? The challenge has been set by Kyshona, a powerful and restorative singer-songwriter and activist who channels her ancestors, connects generations, and builds community with every note and every word sung. Originally released in 2020, “Listen” is just as encouraging now as it was then, and just as indelible in its striving for a better, more compassionate world. Media, social media, and the internet all incentivize us to speak, to center ourselves, to prefer “me” and “I” over “us” and “we.” Let’s maybe listen more, instead. Especially right now.

“Beautiful” – Sam Gleaves

Appalachian singer-songwriter and multi-instrumentalist Sam Gleaves – who was raised in southwest Virginia but now lives in eastern Kentucky – released one of the most quietly and emphatically radical queer country and old-time albums of this year, Honest. “Beautiful” is the collection’s stunner, a track about how there’s endless beauty, mystique, and life lessons to be drawn from the ways we’re all different from each other. Through the lyrics, you see the world from the eyes of a young Gleaves, singing about sights and sounds unfamiliar and foreign to a boy from the mountains, loved and cherished by his family and shown that love without question.

Seeing beauty in our differences? What a way to live…

“The Numbers” – Mipso

THE ECONOMY! THE ECONOMY! THE ECONOMY!

What about those of us for whom this economy has never worked well or fully functioned? What about the millions who can’t make ends meet right now, under blue or red presidents? From their 2023 album, Book of Fools, Mipso turn over this very question, examining how and why “The Numbers” could be soaring – hiring numbers, the stock market, crypto values, Tesla market cap – while so many are still struggling day to day.

“Put No Walls Around Your Garden” – New Dangerfield

From Black string band supergroup New Dangerfield – which features Jake Blount, Kaia Kater, Tray Wellington, and Nelson Williams – “Put No Walls Around Your Garden” is an Americana-tinged old-time number, written by Kater, with a collectivist stance and a solidarity through line. There may be instincts in the near future to revert to an “every man for himself” sort of survival strategy, but the only way we’ll get through is together. Rather than hoarding, walling ourselves off, retreating, or recoiling, now is the time to throw open our garden gates and welcome each other in. Share our abundance, work through our scarcity and lack, and care for each other’s needs – big or small.

“Trees” – Laurie Lewis

Consider the trees. Consider the birds, the rivers, the oceans, the saguaro, the pikas, the whooping cranes. Did their realities change between Tuesday and Wednesday? Is the world any less or more likely to burn, to flood, to be blown away by hurricanes and tornadoes now than on Monday? Sadly, no. The march towards climate apartheid continues entirely unfettered, regardless of who holds the White House.

Laurie Lewis, a bluegrass forebear who has carried the mantle of climate justice for her entire life, embodies trees in the title track of her latest album. She and her band show how the fight for justice – climate justice, racial justice, gender equality, LGBTQ+ rights, immigrant rights – is a fight not measured by human lifespans and human time, but against earth’s clock. The trees will continue to watch, waiting, for us to either figure it all out or to fail at our mission.

We must not fail. The work continues and we’ll be working – and singing – alongside you all, the entire way.

Photo Credit: Alice Gerrard by Libby Rodenbough.

Good Country Goodtime Variety Show Returns to LA’s Dynasty Typewriter December 1

Posted on by Shelby Williamson

BGS and Good Country are so excited to continue our one-of-a-kind, brand new variety show, The Good Country Goodtime, at premier Los Angeles venue Dynasty Typewriter on December 1 at 7:30pm! The second edition of the event – which features the best in country, Americana, and roots music, a first-rate house band, delightful comedy, and more – will be a whimsical walk through a western winter wonderland. In-person and livestream tickets are on sale now.

Confirmed guests for the December 1 show include Jonny Fritz, purveyor and proprietor of “dad country;” the delightful Old School countrypolitan sounds of California native Kimmi Bitter; plus indie/country singer-songwriter Rett Madison, who just released her latest album, One More for Jackie; and, attendees will enjoy stories, laughs, and more from comedian and Tennessee’s own Billy Wayne Davis – who will serve as the evening’s host. The Coral Reefers’ Mick Utley will return to direct the Goodtime’s all-star house band. And, you never know which Hollywood writers, actors, and improvisers and special guests may just show up to join in the fun.

Not able to attend in person? Grab a livestream ticket, or, just hold on – our Good Country Goodtime shows are recorded by Dynasty Typewriter’s multi-camera, multi-media content capture team and we will be sharing performances, sketches, and songs from the Goodtime right here, on BGS and Good Country, in the near future. Stay tuned!

We hope you’ll join us for the December 1 edition of the Good Country Goodtime, the show’s last hurrah of 2024 – before we continue with regular monthly shows in 2025! Attendees will enjoy songs, stories, sketches, and so many surprises in store. Pull on your boots and get ready for our western winter wonderland.

Buy your tickets now for the Good Country Goodtime.

Sign up on Substack for even more Good Country, delivered direct to your email inbox!

Bleu Edmondson on Only Vans with Bri Bagwell

Posted on by Justin Hiltner

On today’s episode of Only Vans, we have one of my all-time favorite Texas country singers, Bleu Edmondson! We talk about Robert Earl Keen, self-worth, getting Stoney’d, and making a record with Wade Bowen.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

Our guest this week on Only Vans is ​exciting ​for ​me, ​because ​I’m ​a ​big ​fan ​of Bleu Edmondson ​and ​I ​have ​been ​for ​a ​long ​time. ​As ​you’ll ​find ​out, ​he’s ​been ​on ​a ​multi-year ​hiatus, ​but ​he’s ​back. ​In our conversation ​we ​talk ​about ​Texas ​music ​staple ​and ​legend ​Wade ​Bowen, who ​is ​producing ​Edmondson’s ​new ​project – ​which, of course, ​we ​are ​highly ​anticipating.

We also ​chat ​about ​Lloyd ​Maines, ​who ​we ​mention ​​a ​lot ​on ​the ​podcast. ​I’ve ​never ​really ​introduced ​him ​properly, ​but ​he’s ​a ​GRAMMY ​Award-winning, ​Texas-based ​producer, ​session ​player, ​musician, ​and ​he’s ​in ​the ​Austin ​City ​Limits ​Limits ​Hall ​of ​Fame. ​No ​big ​deal. Also, ​his ​daughter is ​Natalie Maines, ​who ​is ​the ​lead ​singer ​of The ​Chicks. ​

Elsewhere in our chat, we ​also ​talk ​about ​our ​friend ​Brandon ​Jenkins, ​who ​passed ​away ​unfortunately ​in ​2018 ​from ​heart ​surgery ​complications. ​He’s ​dearly ​missed ​and ​remembered ​by ​all ​of ​us. Enjoy our Only Vans ​episode featuring my ​friend, ​Bleu ​Edmondson!

Find Bleu Edmondson on social media here and here.

Thanks to our sponsors, The MusicFest at Steamboat, Lakeside Tax, & CH Lonestar Promo!

Find our Only Vans episode archive here.

Yamaha’s Groundbreaking Second-Generation TransAcoustic Guitar

Posted on by Justin Hiltner

Yamaha Guitars knew they were breaking ground – and raising eyebrows – when they debuted their TransAcoustic Guitar at the 2016 winter NAMM and Musikmesse trade shows. The original TransAcoustic Guitar turned heads immediately, thanks to its innovative technology and, of course, the quality acoustic guitar body and sound that musicians have long associated with the Yamaha name.

Fast-forward eight years and Yamaha has introduced the second-generation TAG3 C, a completely new model offering advanced features and more options. With Bluetooth capability, a built-in looper, a rechargeable battery with a five- to eight-year life, iOS and Android compatibility, and a plethora of controls and effects — reverb, chorus, delay, its TAG Remote app, and more — the TAG3 C is a workhorse, opening new avenues for artistry at all levels. It’s also a beauty, with its dreadnought body, solid Sitka spruce top, and solid mahogany back and sides.

The TAG3 C was designed for guitarists and, in a sense, by guitarists. When the first generation entered the marketplace, Yamaha’s Product Manager, Shingo Ekuni, was hands-on with customer reviews and interviews – what they liked, needed, and ultimately wanted. “We concluded that we needed more capabilities for creative players,” he says, “for the person who is proactively doing their practice at home or creating songs at home.”

This presented the challenge of creating a high-tech yet user-friendly guitar that sparks interest in tech-minded musicians without alienating traditionalists. “From my perspective as a player, and with most of my friends also being musicians, guitar players can be very particular about their sound,” says Yamaha’s Marketing Manager, Brandon Soriano. “They want the level of control. One person might prefer a plate reverb while another prefers a hall. They might want a very specific decay time or tone, and the same thing goes for chorus or delay. At the same time, guitar players don’t want a lot of barriers to actually playing the guitar. They don’t want an overly complicated user interface and experience. The way the TAG3 C is structured, you get all of the control over the specific sounds you want in the app, but when it comes to actually using the guitar, it’s a very simple interface.”

A cursory glance at the TAG3 C might cause one to scoff, “Second-generation guitar, TikTok-generation players.” But – curmudgeons rejoice! – this is not the case. No interest in apps? No worries. “You don’t need internet to use the guitar,” says Soriano. “You don’t have to connect it to Wi-Fi. And it doesn’t require the app to run. Straight out of the box, without downloading the app or anything, you can turn the guitar on, effects will already be dialed in, and you can use all the functionality.

“If you want to use the Bluetooth audio, of course you need to connect your phone or another Bluetooth output device. And if you want to get into the parameters of the effects, like changing from a plate reverb to a hall, that’s where you start using the app. But you can fully use the guitar without using the app.”

“Something really great with this guitar is the quality strictly as an acoustic guitar,” he adds. “It’s built to Yamaha standards, which, as we all know, are very solid, rigorous, and high level. Even if you were to take out all the technology, I would still love it just as an acoustic guitar. I think that’s going to add to people wanting to pick it up.”

“Nowadays, with our mobile devices, the ‘smart’ devices, with tools for guitarists, everybody is using the tuner, the metronome, [from] the very basic stuff to more complex and connected devices,” says Ekuni. “Customers are happy to accept new technology for a new type of product. Parallel with that, the TAG3 C is an authentic acoustic guitar, but the technology can expand the possibility of acoustic guitar playing.”

“We are in a technological age, and it’s all around everybody all the time,” Soriano agrees. “There is a little more open-mindedness to innovation, even in commonly traditional circles like bluegrass, for example. Customers also want to know that their money is well spent and that they can be confident in their purchase from a quality standpoint, durability, sound, playability, all those things. Those are some of the main pillars of Yamaha — delivering the best quality for the money at any price point, from the $400 guitars to the $4,000 guitars.”

This content brought to you in partnership with BGS sponsor Yamaha Guitars. Discover more about Yamaha Guitars and the TAG3 C here.

Photos courtesy of Yamaha Guitars. 

GC 5+5: Noeline Hofmann

Posted on by Justin Hiltner

Artist: Noeline Hofmann
Hometown: Bow Island, Alberta, Canada
Latest Album: Purple Gas EP

What’s your favorite memory from being on stage?

It’s nearly impossible to narrow down, but one of my favorite memories from the stage happened this October while on tour with Colter Wall. For the better part of the tour, Corb Lund – a fellow Western Canadian (like Colter and I) – was also on the road with us. I grew up listening to Corb on the radio back home and later discovered Colter as a teenager. Their songwriting resonated with and influenced me deeply as a young writer and continues to today.

Colter kindly invited us to join him in singing “Summer Wages” by Albertan cowboy legend, Ian Tyson, for his encore during tour. The first night that Corb joined us on stage, he took me by the arm for a two-step during the instrumental – much to mine and the crowd’s surprise. (Sorry about scuffing up your boots with my two left feet, Corb.) It was such a wonderful, full circle moment to be on stage beside two artists from home who had such a huge impact on me and singing a song together by a late legend from home who has impacted all of us.

Further, Patrick Lyons, the producer of my EP, Purple Gas, plays guitar in Colter’s band. Another reason that made these memories of singing “Summer Wages” special was it being the first time(s) I was lucky enough to share a stage with Pat as well as all of the other boys in the band, who I’ve come to know and love not only as musicians, but as friends.

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

I love to spend time out on the prairie. It has an understated beauty that with every passing year becomes more and more striking to me. It is unforgiving. Seemingly never-ending. In tune and knowing. It’s seen my own blood, sweat, and tears and that of generations of people that I love, alike. I’ve never felt closer to God than I have out there, all alone. Being raised in a prairie town, around prairie people, the landscape and all that results due in part to it, has defined my life experience thus far in an immeasurable way – and consequently, impacted my work just as deeply.

What’s the most difficult creative transformation you’ve ever undertaken?

While I’ve been feeling incredibly inspired to write in the wake of releasing my first recording project, I think I am simultaneously in the midst of one of the most difficult creative transformations I’ve faced so far.

All of the songs on my debut EP were written during a very different time in my life; before I’d ever been on tour, or set foot in a studio, or before the music industry began revealing itself to me behind the thick veil of mystery that once clouded it from my gaze. I was working blue- and pink-collar jobs such as bartending and doing farm labor before eventually putting all of my cards on the table and giving a career in music an all-or-nothing go, starting with the regional music scene in Alberta. Those years, age 18 to 20, were raw and electric, reckless, trial by fire. I was full of piss and vinegar, stubbornly tuning out the expectations others had of me and striking out into the world for the very first times to try forging a path towards something more for myself in life. I confronted some shocking losses and also experienced those first great formative loves you do at that age. Environments and emotions that are natural recipes for songs.

My day-to-day life has pulled a complete 180 since those songs were written. I have a lot of writing to do from my new pair of boots. I haven’t been able to take them for many test drives behind the pencil while on tour this spring and summer and am waiting with bated breath for the winter, when I’ll get to sit down and really dig into writing and processing the last year. It’s in my nature to always want to step above the bar I last set for myself – it’s as nerve-wracking as it is exciting to be starting to write for the next project. Especially now that most of the surroundings and life circumstances that inspired the songs on my first project are no longer part of my daily life on the road and there is now a recorded precedent set that didn’t exist at the time I wrote the songs on my first body of work.

What is a genre, album, artist, musician, or song that you adore that would surprise people?

“Good Luck, Babe!” by Chappell Roan (of course!)

If you didn’t work in music, what would you do instead?

I would probably be a ranch hand. Ranching is humbling, creative, and requires your all – mind, body, and soul. You have to live and breathe it. I can’t do anything halfway. For two jobs that, on the outside, look as though they couldn’t be any more different from each other, I’ve found a surprising number of parallels between my experiences working on a ranch to working as an artist.

(Editor’s Note: Sign up on Substack to receive even more Good Country direct to your email inbox.)

Photo Credit: Christian Heckle

You Gotta Hear This: New Music From Aaron Burdett, Nic Gareiss, and More

Posted on by Justin Hiltner

Here’s a flock of brand new songs and videos you gotta hear! This week, our premiere round-up includes Americana, fiddle tunes, percussive dance, good country, string band excellence, and more.

Don’t miss new tracks like “Second Best,” from Americana singer-songwriter and Steep Canyon Rangers vocalist Aaron Burdett, and “China Camp,” a fiddle tune written by Paul Shelasky and performed by Amy Kassir with Jake Eddy and more. Also, Wisconsin’s own Them Coulee Boys drop “I Am Not Sad,” a song that grapples with mental health from their upcoming 2025 album, No Fun In The Chrysalis.

We’ve got some superlative videos this week, as well! Percussive dancer and folk musician Nic Gareiss dances us through a gorgeous, queer rendition of a Gillian Welch song, “Back Turn and Swing,” and alt-folk trio Palmyra have brought a live field recording of “Fried,” a song from their brand new EP, Surprise #1. Meanwhile, Eilen Jewell pays tribute to Loretta Lynn and spotlights the progress and regression of the last 50 years of reproductive rights activism with a cover of “The Pill.”

To wrap us up, we don’t want you to miss the latest AEA Session, premiered in partnership with AEA Ribbon Mics on BGS earlier this week. This edition of the series features Brit Taylor & Adam Chaffins, performing live at Americanafest last month.

It’s all right here on BGS and, certainly, You Gotta Hear This!

Aaron Burdett, “Second Best”

Artist: Aaron Burdett
Hometown: Saluda, North Carolina
Song: “Second Best”
Release Date: October 25, 2024
Label: Organic Records

In Their Words: “You might say ‘Second Best’ was a song 30 years in the making. I’ve had this line from an old David Wilcox song rattling around in my head since the ’90s. It always struck me as a phrase that could be interpreted in many different ways. So I eventually started playing with that idea and bouncing it off various scenes and situations. A year or so ago I landed on the one (or two) that ended up in the recording, along with the original Wilcox line that inspired the chorus. Some songs arrive quickly, and some arrive much more slowly!” – Aaron Burdett

Track Credits:
Aaron Burdett – Vocals, acoustic guitar
Kristin Scott Benson – Banjo
Carley Arrowood – Fiddle
Tristan Scroggins – Mandolin
Jon Weisberger – Upright bass
Wendy Hickman – Harmony vocals
Travis Book – Harmony vocals

Nic Gareiss, “Back Turn and Swing”

Artist: Nic Gareiss
Hometown: Lansing, Michigan
Song: “Back Turn and Swing”
Release Date: October 25, 2024

In Their Words: “When I heard Gillian Welch’s song ‘Back Turn and Swing,’ I was immediately drawn to the way it brings the listener into the scene of a dance event: musicians tuning up, someone cooking potluck food to pass around, the excitement in the air, folks eager to get up onto the floor. The lyrics evoke the feeling of the square and contra dances I grew up attending in the rural Midwest. At the same time, as a non-binary queer person, I feel bodily unease around how the song sets up the dualistic gender of the attendees.

“Many folk dances these days have adopted expansive and inclusive dance calls, like using ‘larks and robins,’ ‘lefts and rights,’ etc. (shoutout to Michigan’s Looking Glass and Ten Pound Fiddle contra dances, Detroit’s queer square dance, Asheville’s Old Farmer’s Ball, and Brooklyn’s Gayli). Yet I’m still compelled to check beforehand that the caller – the authoritarian voice at the front of the hall telling people what to do with their bodies – is onboard with same-sex couples dancing together or trans and genderqueer people expanding these roles. This past summer a partner and I were at a dance when someone in their 20s asked us mid-set, ‘Who is the man?’ This reminded me that there’s still work to do; inclusivity still requires advocacy and allyship to help all feel welcome in the dynamism of the dance floor.

“Speaking of dynamic, as a child I saw John Hartford and was both astonished and inspired by the soundscapes he could create; dance, music, and song all embodied in one person. I aspire towards that dance-as-music in this video, where I added a few lyrics to the last verse.” – Nic Gareiss

Video Credits: Filmed by Blake Hannahson. Audio mixed by Jaron Freeman-Fox.

Eilen Jewell, “The Pill”

Artist: Eilen Jewell
Hometown: Boise, Idaho
Song: “The Pill”
Album: Butcher Holler: A Tribute To Loretta Lynn
Release Date: October 22, 2024 (single); November 15, 2024 (album)
Label: Signature Sounds

In Their Words: “The amazing thing about ‘The Pill’ is that it still feels edgy today, nearly 50 years after its original release. Loretta infused it with so much sassy defiance that, even now, when I sing it live and reach the phrase ‘now I’ve got the pill,’ some fans pump their fists while others clutch their pearls. It still strikes a nerve, a testament both to how effective this song is and how little progress we’ve made in this country in terms of reproductive rights.

“Loretta still holds the prestigious record for the singer of more banned radio hits than all other male country artists in the twentieth century combined. And ‘The Pill’ was the most banned of all of her songs, which is saying a lot. By recording and performing it live, I hope to do my part to spread the word about the importance of public access to family planning as an integral part of a woman’s right to the pursuit of happiness. It’s hard to believe this fight is still going on, but until it’s over I’ll be here for it.” – Eilen Jewell

A note from the artist: A percentage of sales from “The Pill” will be donated to Planned Parenthood.

Video Credits: Bill Hurley at The Fallout Shelter in Norwood, Massachusetts

Amy Kassir, “China Camp”

Artist: Amy Kassir
Hometown: Durham, North Carolina. Currently lives in San Rafael, California.
Song: “China Camp”
Album: Bread and Butter
Release Date: October 25, 2024

In Their Words: “‘China Camp’ is a great tune by the legendary California fiddler Paul Shelasky. I first heard it on the 1983 Good Ol’ Persons record, I Can’t Stand to Ramble, and I’ve been obsessed ever since. While so many tunes on my album are ‘bread and butter’ fiddle tunes I grew up playing in North Carolina, I wanted to include a tune that represents the rich musical legacy of California, which has been my home for the last 10 years. I’m so thankful Paul gave me his blessing to record this tune.

“This recording features Jake Eddy on guitar and banjo, Korey Kassir on mandolin, and Carter Eddy on bass. It’s such an exciting tune to play, and we had a lot of fun bringing it to life.” – Amy Kassir

Palmyra, “Fried”

Artist: Palmyra
Hometown: Richmond, Virginia
Song: “Fried”
Album: Surprise #1 (EP)
Release Date: October 24, 2024
Label: Oh Boy Records

In Their Words: “As we have ventured into playing bigger stages and festivals, our sound has expanded significantly. While the core of Palmyra remains the three of us, we’ve been experimenting with a larger four-piece sound, as heard on the recorded version of ‘Fried’ on our new EP, Surprise #1, with Oh Boy Records. ‘Fried’ is our most ambitious acoustic experiment, starting with a drum set and a hypnotic repetitive guitar lick. Recording the song acoustically with one microphone in a field was a fun way for us to find the core of the tune. It was a challenge to see how many elements we could strip away and still keep the groove. We like to call ‘Fried’ our ‘jam band’ song, and we hope even this field recording gets you on your feet.” – Palmyra

Track Credits:
Written by Sasha Landon, Mānoa Lewis Bell, and Teddy Chipouras.
Sasha Landon – Mandocello, voice
Teddy Chipouras – Guitar, voice
Mānoa Bell – Upright bass, voice
Jake Cochran – Drums

Video Credit: Elliott Crotteau

Them Coulee Boys, “I Am Not Sad”

Artist: Them Coulee Boys
Hometown: Eau Claire, Wisconsin
Song: “I Am Not Sad”
Album: No Fun In The Chrysalis
Release Date: October 29, 2024 (single); February 28, 2025 (album)
Label: Some Fun Records

In Their Words: “‘I Am Not Sad‘ is the last song on the record and captures the theme of accepting change this record focuses on. I’ve struggled with my mental health my whole life, dealing with depression, anxiety, and issues with self worth. I’ve embraced those issues in my songwriting, hoping to shine a light on things that we all go through from time to time. We have plenty of songs that talk about these issues, but this one is the first that accepts them.

“The song is built around the phrase ‘I am not sad anymore, at least not today.’ It’s a celebration of the happiness in the moment, while acknowledging that there’s times when it’s harder. It’s about being thankful for the good times, and letting them stack up on one another for when the bad times come. It’s a declaration, a moment of catharsis, while knowing that it won’t always be like that.

“Sonically it starts sparsely, with elements of the band being added with each verse, like confidence growing in one’s self as you begin to believe. It’s self-assured, with strummed mandolin and piano a backdrop for growth. When the bridge lyrically introduces the idea that these positive feelings might not last, the musical interlude represents the choice to embrace that realization. An ethereal, almost dream-like backdrop sets up the catharsis of the last verse. When the last verse hits, it invites all the good feelings back for a triumphant jam. It’s loud and snarls in the face of the hard times. It’s meant to soar and it does.” – Soren Staff

AEA Sessions: Brit Taylor & Adam Chaffins, Live at AmericanaFest 2024

Artist: Brit Taylor & Adam Chaffins
Hometown: Hindman, Kentucky (Brit), Louisa, Kentucky (Adam); now, both call Nashville home.
Songs: “Little Bit at a Time,” “Holding On Holding Out,” “Trailer Trash,” “The Best We Can Do Is Love,” and “Saint Anthony”

In Their Words: “It was fun playing and talking about new songs on some incredible sounding AEA gear with Brit Taylor on the Bell tone sessions!” – Adam Chaffins

“Brit and Adam’s songs are personal, yet universal. They are warm in person and it’s clear they spend a lot of time together singing, playing, and writing. Their vocals weave and intertwine so effortlessly.” – Julie Tan, AEA Ribbon Mics

More here.

Photo Credit: Aaron Burdett by Mike Duncan; Nic Gareiss by Blake Hannahson.

‘Sweet Critters’ Shows a Deepening of Caleb Caudle’s Point of View

Posted on by Justin Hiltner

On his new album, Sweet Critters, Caleb Caudle has no desire to reinvent himself. The North Carolina native has spent his career trying to move closer and closer to what is already inside of him. “This well is getting deeper… more nuanced,” he explains. “And I really enjoy that. I’m not trying to be repeat myself, I’m trying to be myself.”

Dedicated to friend and former bandmate Alex McKinney, who recently passed after a battle with cancer, the album rings out with appreciation for the everyday experience of life. With gratitude and grit, Caudle explores both his external and internal world as he continues to travel the hardfought and beautiful path of a touring troubadour.

Reaching Caudle by phone during his headline tour in support of Sweet Critters, he explained that on days off from the road his band likes to rent a spot out in the woods somewhere, hunker down, cook meals, and play music and board games to recharge for the shows ahead. It was during one of these recharge days that he caught up with BGS.

This album was produced by John Paul White, former member of The Civil Wars. How did that come about and what did he bring to the record?

Caleb Caudle: John Paul and I have been buddies for a long time and we had always talked about working together. For this record, our schedules finally synced up and we had the chance to do it. I traveled to Alabama with my road band. It was my first time recording with my live band and that brought something special to the record.

With John, he’s such a great singer and he pushed me harder than anyone has pushed me as far as the vocals on this recording. I think there are things he hears that other folks don’t hear, so I trusted him. I liked that atmosphere of being pushed to go further, and I really enjoyed the process.

You’ve been doing this work for a long time. This is your sixth studio album. Is there anything new, thematically, that you see in this collection, or any new places you tried to reach?

It’s kind of in a similar world to my other albums… you know, it’s love, it’s loss, it’s empathy, it’s addiction, it’s anxiety. I think there’s some more character studies than I have done in the past, which is an exercise I kind of started doing more of on my previous record, Forsythia. At this point, I’m not trying to reinvent myself so much as I’m trying to deepen it all. Some of the habits you create end up just being your style and I think that’s what’s kind of happening at this point in my career.

A lot of the record is about endurance, whether about me or through the eyes of another character – which is usually me, anyway. For example “The Devil’s Voice,” it’s an empathetic look at addiction, because I’ve dealt with that. I try not to judge the characters, I try to stay out of it in a way and let them just tell their stories. Another song, “The Brim,” is a love song that I wrote for my wife, which is also about endurance in a certain way, about endurance in a long relationship.

And then there’s career endurance. I think “Heaven Sometimes” is about that. You know you’re going to have an off night here and there, and this song is about trying to recognize that the art that I’m making is more important than any other money I might make from it and just focusing on that concept.

Sonically, where did you and White want to take this record? As far as production, did you have any specific references you were trying to achieve?

I have been trying to figure this thing out for a while where I’m trying to marry traditional instrumentation with less traditional instrumentation and sound. There’s not a lot of stuff going on in the world of music that I listen to which has vibes of fiddle and old-time string instruments blended with other electric sounds. I’m trying to mix it up and blend it to create something new and that was one of the great things about using my live band for this record. I’ve been able to bring that vision out on the road with me.

Generally, when it comes to production, I just try to stay open-minded and completely available in the moment. I try to go where the music is leading me, and stay out of it a little bit.

Speaking of your live shows, you’ve been on a big headline tour in support of this record. How has that felt?

The songs are already starting to feel more lived-in. We’ve all been playing together long enough where we aren’t really thinking about the songs anymore. We really know the material. So we are doing a bunch of different interlude stuff, and we aren’t really putting borders around anything, which feels really nice.

We are doing our Grand Ole Opry debut in November. I can’t remember not knowing what the Opry was, because everyone around me would listen to it when I was growing up. I’ve learned as I’ve gotten older that there is no one moment that can change the trajectory of your career, but I’ve gotten worse calls! And John Paul is going to come up and sing with me, so I’m excited to share that moment with the people I love.

I absolutely love the Allison Russell and Aoife O’Donovan features on this album! “The Brim” is my favorite track. Can you tell me how those guest appearances came about?

Allison came to an in-store performance I did and we talked afterwards. She was so great. I saw her again over in London and I asked if she wanted to sing on on my record and she said yes, so that was a treat.

With Aoife, I didn’t actually know her, but [she and] John Paul are friends and her voice was perfect for that song. I ended up meeting her at the Long Road Festival and got to thank her for making that recording more beautiful.

Before I let you go, I’d love to know what has been inspiring you lately?

Right now I’m kind of at a spot where this record is my entire existence. My days are: focus on the set, drive back to the AirBnb, and then get up, drive, and do it all over again. As far as art, I really like that new Waxahatchee record, and the new Dave and Gil record… there’s been so much great stuff out lately. We just heard the new Jerry Douglas record and really liked that.

But for me, nature is my number one inspiration and I’m always seeking it out. I like going to cities, but when I’m home I really like being home. I really like the land in North Carolina and when I’m there I feel like I’m back on my axis, I feel centered. It’s really nice and I always find my inspiration.

(Author’s Note: Between our interview and its publication, Hurricane Helene devastated Caudle’s beloved home region in North  Carolina and surrounding areas. We reached out to Caudle, who has been at the forefront of rescue and relief efforts, for comment and for folks who are interested in helping, he wanted to encourage donations to BeLoved Asheville. Find more ways to help Hurricane Helene relief here.)

Photo Credit: Joseph Cash

Jett Holden’s Dreams Come to Life on ‘The Phoenix’

Posted on by Justin Hiltner

For years, Jett Holden dreamt and dreamt about making a living through music, but everywhere he turned he was met with doubt, subtle prejudice, and closeted racism that left him running on empty and searching for something new.

Following a journey to rock bottom, Holden is back stronger than ever on The Phoenix, a 10-song collection that catalogs his rise from the ashes and spotlights the community that embraced him when it seemed nobody else would. Told through a mix of countrypolitan, rock, punk, metal, and R&B sounds, the record is proof that there are no boundaries to who, where, and what good music can come from – and that we all benefit from everyone having a seat at the table, sharing their stories and perspectives.

“This album reflects who I’ve been throughout my entire life,” Holden explains to Good Country. “It’s been really cool to look back on when and where my different influences come from while bringing these songs to life. For example, ‘Karma’ is definitely Paramore meets Stapleton, while ‘West Virginia Sky’ harkens to my Tracy Chapman and Jim Croce influences.”

Fresh off a move to Nashville, Holden spoke with GC over the phone about the doubt and prejudice he’s faced along his musical journey, his work with the Black Opry, using music to heal past trauma, and more.

There’s a lot going on in your song ‘Scarecrow,’ from exploring your family’s reaction to coming out to masking the crippling weight of other’s doubts of what you’re capable of – along with a slew of Wizard of Oz references to the scarecrow, tin man, and cowardly lion. Mind sharing how all those ideas coalesced into one?

Jett Holden: It’s the first song I finished for the album. I wrote it back when I was 25, and at that point my family and I didn’t really have a personal relationship. It had gotten to the point where I came out 10 years earlier and wasn’t sure where I stood with them. I wasn’t disowned, but I also didn’t have anyone to turn to – they all pretty much told me they didn’t want to hear about it. I didn’t want to keep living in limbo, so a few years later I skipped town and moved to East Tennessee, which is where [Black Opry founder Holly G] found me in 2021.

You also had a brief stint living in California around this time that left you on the brink of quitting music for good. What all transpired out there?

I moved out to Long Beach after dropping out of community college. I was in talks about a development deal and during the “get-to-know-you” phase I let it slip that I was gay and they responded by saying that I wasn’t marketable as a Black, gay man doing the kind of music that I wanted to do. Things fell apart from there, which is why I left California and moved back to Virginia before eventually relocating to Tennessee.

Aside from that moment, were there any other circumstances that contributed to you feeling so defeated about your music prospects?

When I first moved out West, there was a very steep trajectory that isn’t common for most people, but it quickly deteriorated after I mentioned being gay, making for a really high peak and a really low low. When I returned to Virginia things got stagnant and didn’t progress at all, even moving backwards at times. It was a frustrating time of trying to figure myself out that culminated in the move to East Tennessee where I was roommates with a close friend before coming home one day after she committed suicide.

Another of my friends got cancer around the same time and just recently passed too, so those were very traumatic years for me.
By 2020, I just couldn’t do it anymore, so I started going to therapy right before the pandemic hit and the world shut down. Suddenly [music] was just too much to deal with, so I stopped making it. Being online was toxic so I shut down, got a stay-at-home job with AT&T, and accepted that as my future, working my way up in the company.

Then Holly — and the Black Opry — came around?

Exactly. I’d already called it quits when she found me on Instagram through a video I’d posted of my song “Taxidermy.” I only had that and a couple other covers posted, but it was enough for her to take interest and slowly pull me back into the industry. A couple months later she launched the Black Opry as a blog and it’s crazy to see where things have gone since then.

Within a year I’d gotten to tour all over the country, appear on The Kelly Clarkson Show, and I recorded my first single and EP through a grant I received from [Rissi Palmer’s] Color Me Country. Holly has made so many things possible that had been unavailable to me for my entire career until then, fighting for me in ways nobody else had before. She took chances because she wasn’t an industry person, but rather a flight attendant who was just a fan of country music and wanted to feel connected to it and the artists she was listening to, which is something a lot of others were in search of as well.

When I went to the first outlaw house she threw at Americanafest in 2021, I was expecting a bunch of Black country fans to show up, but it was also the queer community, the Latin community, and the women in country music that didn’t feel like they were getting a fair shake of things. Everyone who felt “othered” in country music showed up and it felt like immediate family. Seeing the excitement around that is what drew me back in.

Speaking of your song “Taxidermy,” I remember you being brought to tears while singing it during a Black Opry panel at Americanafest that same year. What’s that song meant to you, both in its message and what it’s meant to your career?

That song relaunched my career essentially, because I wasn’t chasing music when I wrote it. In fact, when I posted it online I only had one verse and the chorus. Despite it not being complete, Holly still sent it off to Rissi Palmer and got me the grant and I finished writing it the day we recorded. It’s a song of frustration that I didn’t expect many people to watch when I posted it, but Holly really connected with it, spread it around, and helped it blow up into something bigger than I ever imagined.

I was just singing about my frustrations with what was going on around our country at the time concerning police brutality, which was a big reason why I quit social media and music altogether in 2020. Instagram was the [only] online account I had when Holly found me. That song allowed me to vent about those things, but it also helped me gain the community I needed to break myself out of the news cycle that we were constantly absorbing, because we had nowhere to go. The song came about out of all that negativity, but had a huge positive impact on me that I never expected.

In addition to the support you’ve received from the Black Opry, you’ve also got a helluva team behind you for this record including the folks at Thirty Tigers, [producer] Will Hoge, and collaborators like John Osborne and Charlie Worsham (“Backwoods Proclamation”), Cassadee Pope (“Karma”), and Emily Scott Robinson (“When I’m Gone”). I imagine that, after everything you’ve been through, having folks like that working alongside you is incredibly validating?

Definitely! Emily was the first person I asked, since she was a very early supporter of the Black Opry. We both connected over “When I’m Gone” and our similar stories [around] suicide, so it was a no-brainer to have her sing with me on it. Holly ended up reaching out to Cassadee after I mentioned wanting someone similar to Hayley Williams featured, and she nailed it. It’s very cool seeing all these people I’ve looked up to legitimately wanting to work with me. I still haven’t met Charlie or John, but it’s wild knowing that they’ve heard my song and wanted to be involved in it.

Regarding “When I’m Gone,” is that a reference to your friend in East Tennessee that you walked in on after committing suicide? If so I’m sorry for your loss, but I love how you used the song to memorialize them and bring attention to the plight of suicide. It’s an awful thing to experience, but putting your feelings from it to song is a great way to bring beauty to an otherwise unimaginable situation.

You’re completely right. When I play songs like “When I’m Gone” or “Scarecrow” live I always have people coming up to talk to me about them afterwards, whether it’s someone who’s come out, dealt with religious trauma, or a person who’s just lost somebody close to them. There’s something very cathartic and heavy all at once that’s led to a lot of crying, but more importantly a lot of growth. It’s been great feeling like I’m not going unheard – which I did for over a decade – and having interest in what I’m doing where there wasn’t any before.

We’ve talked about a lot of the trauma captured in these songs, which brings me to the album’s title, The Phoenix. Is that reference meant to reflect how your life — specifically your musical dreams — have been reborn in recent years?

That was the intention. It was about the resurrection of my career, plus I also referenced the phoenix in “West Virginia Sky,” so it felt appropriate. Then, weirdly enough, just after recording the album I had a friend, also named Holly, give me a phoenix bolo tie for Christmas. It was a very kismet occurrence and a sign that that was the correct title to move forward with on the project. It makes for the perfect project, one where I have creative control and wrote every song (besides co-writing “Backwoods Proclamation”). I put my heart and soul into it, and am really excited for people to hear it.

If you could go back in time to speak with yourself when you were about to call it quits, what would you tell them?

Prioritize the relationships you build, because those are the people that will help you get to where you are supposed to be.

(Editor’s Note: Sign up on Substack to receive even more Good Country content direct to your email inbox.)

Photo Credit: Kai Lendzion

You Gotta Hear This: New Music From Mon Rovîa, Loose Cattle, and More

Posted on by Justin Hiltner

We’ve reached the end of the week and we’ve got your new music covered this Friday! Our premiere round-up is completely full with excellent new songs and videos from a variety of artists who work in a variety of roots styles.

Check out new music videos from folks like singer-songwriter Sadie Campbell performing “Getting Older,” a subtly spooky tune from High Horse entitled “Tombstone Territory,” country outfit Loose Cattle bring us “The Shoals,” on which they are joined by none other than Patterson Hood, and “Afro-Appalachian” artist Mon Rovîa’s lyric video for “Winter Wash 24” is colorful and engaging.

You’ll also find brand new music from folks like JD Clayton, who sings about being disappointed by a friend on “Let You Down,” Benny Sidelinger processes a difficult season of life on “Lilacs,” and roots rockers Clarence Tilton call on their pal Marty Stuart for their latest, “Fred’s Colt.”

To cap it all, we debuted our new video series, the AEA Sessions, with our partners at AEA Ribbon Mics earlier this week with an incredible performance by our longtime friend, Gaby Moreno. You can watch that debut session below, as well.

It’s all right here on BGS and, you know the routine – You Gotta Hear This!

Sadie Campbell, “Getting Older”

Artist: Sadie Campbell
Hometown: British Columbia-raised, Nashville-based
Song: “Getting Older”
Album: Metamorphosis
Release Date: October 11, 2024 (single); October 25, 2024 (album)
Label: Glory War Records

In Their Words: “In a sea of filters, fillers, and constant pressure to look young, ‘Getting Older’ is my reminder to embrace myself where I am, as I am, to be proud of every wrinkle on my face, that my body was well-earned through laughter and learning, and not everyone gets the privilege to grow older. This video is meant to symbolize the many different versions we can be throughout our lives — and that it’s really about perspective. The photo can be the same, but through a different lens, you see a different image. Just like how we see ourselves. If we can change the lens, and the way we perceive ourselves, the picture we see often changes, too.” – Sadie Campbell

Video Credits: Filmed and edited by Justin Alexis at That Good Graphic.

JD Clayton, “Let You Down”

Artist: JD Clayton
Hometown: Fort Smith, Arkansas
Song: “Let You Down”
Release Date: October 11, 2024
Label: Rounder Records

In Their Words: “‘Let You Down’ was born in a coffee shop in East Nashville called Cafe Roze. I sat next to a new friend who would later become my bass player. We had an itch to hit the town and get dinner at an unfamiliar restaurant, but to our surprise every establishment the waitress recommended was closed that day. After about the fourth restaurant it became a humorous bit. It immediately began pouring rain outside. Although the waitress meant nothing by it, I teased that she was letting us down. On my drive home that day I sang ‘sometimes people let you down’ in my voice memo. It immediately hit me and I was flooded with feelings of an old friend that had actually let me down and meant it. I then had my sweet little song. But it needed more. It wasn’t until the day of recording that I dreamed up a huge instrumental break to highlight all of my band members and bring their skills to life. On a Thursday at Sound Emporium studio on Belmont Boulevard, my band cut ‘Let You Down’ and it became in my own humble opinion a certified banger. I’m certainly biased, but I truly love the song and its flow of story to emotionally charged musical outrage.” – JD Clayton

Track Credits: 
Written by JD Clayton.
JD Clayton – Vocals, acoustic guitar, background vocals, harmonica
Bo Aleman – Electric guitar
Lee Williams – Bass guitar
Kirby Bland – Drums, percussion
Hank Long – Piano, Wurlitzer, organ

High Horse, “Tombstone Territory”

Artist: High Horse
Hometown: Boston, Massachusetts
Song: “Tombstone Territory”

In Their Words: “After coming off tour with the Jacob Jolliff Band, I had all this inspiration that I wanted to bring to a High Horse instrumental composition. The basic elements of ‘Tombstone’ come from some of the ideas in Jolliff’s music and influence from Grant Gordy/Mr. Sun recordings. And, from a practice of sending around a melodic part that I learned in an earlier Persian Music Ensemble at NEC to the band. Not only was this an academic sort of exploration for me, but it was also a great opportunity to show off some of the special skills everyone in the band has as instrumentalists. Some of my favorite solos on the record happen on this recording and it has some of our best band cohesion! After performing the piece for one of its first times in Hancock, New Hampshire we were still looking for a title when we happened upon a short dirt road named Tombstone Territory. Given the spooky vibe of the tune, that seemed to fit just perfectly!” – G Rockwell, composer, guitarist

Track Credits:
G Rockwell – Guitar
Carson McHaney – Fiddle
Karl Henry – Cello
Noah Harrington – Bass

Video Credits: Video, editing, recording, and mixing by Micah Nicol

Loose Cattle, “The Shoals” featuring Patterson Hood

Artist: Loose Cattle
Hometown: New Orleans, Louisiana
Song: “The Shoals”
Album: Someone’s Monster
Release Date: October 8, 2024 (single); November 1, 2024 (album)
Label: Single Lock Records

In Their Words:“‘The Shoals’ gives me faith good men are actually listening, since Michael pulled the lyrics from several years of my private ‘Mad As Hell/Not Gonna Take It Anymore’ rants. It’s a song about what happens when we stop twisting into pretzels trying to please everyone else and start speaking uncomfortable truths to power. Historically, there’s a long tradition of accusing women who speak uncomfortable truths aloud of possession or witchcraft, so it felt especially fitting to cast Patterson Hood as a river ‘demon’ egging on the narrator.” – Kimberly Kaye

“I started writing the song during my first stay in the Shoals some years ago, on a banged up old guitar I’d just bought there. Better writers than me have tried and failed to explain the mysterious way that stretch of the Tennessee River has sung so much unforgettable music into being. All I can say is the song kind of wrote itself there and I just tried to copy it down. And ever since, from having an original Swamper’s son tell me “hell yeah” that he wanted to sing the part of a River Demon for us, to finding the record the perfect home at Single Lock Records, has just seemed meant to be. After a hell of a lot of work, of course.” – Michael Cerveris

Track Credits:
Music and lyrics by Michael Cerveris.
Kimberly Kaye – Vocals
Michael Cerveris – Acoustic and electric guitars, harmonies
René Coman – Bass
Doug Garrison – Drums
Rurik Nunan – Fiddle, harmonies
Jay Gonzalez – Farfisa organ
Patterson Hood – Vocals, guitar

Mon Rovîa, “Winter Wash 24”

Artist: Mon Rovîa
Hometown: Liberia-born, Tennessee-based
Song: “Winter Wash 24”
Album: Act 4: Atonement
Release Date: October 11, 2024 (single); January 10, 2025 (EP)
Label: Nettwerk Music Group

In Their Words: “I wrote ‘Winter Wash 24’ while touring with Josiah and the Bonnevilles in March ’24. The theme of cognitive dissonance weighed heavily on my mind amidst everything happening in the world. Outside Seattle, I saw tanks covered in tarps treated with winter wash and the image moved me to write. The song explores how we often distance ourselves from the struggles of others when they don’t directly affect us. My goal is to raise awareness of these shared struggles, because empathy is a crucial force for change. As a refugee, I’m deeply inspired by the work of the IRC (International Rescue Committee) and am donating the song’s proceeds to support their vital efforts.” – Mon Rovîa

Benny Sidelinger, “Lilacs”

Artist: Benny Sidelinger
Hometown: Wayne, Maine (famous for a bumper sticker that says “Where the hell is Wayne, ME?”)
Song: “Lilacs”
Album: Cherry Street
Release Date: October 25, 2024

In Their Words: “I wrote ‘Lilacs’ during a particularly difficult period of my life. However, there were many joyous things happening at the time too. My then-fiancée was pregnant with our lovely daughter Tulsi and we were living in a gorgeous historical farmhouse on the Skagit River, yet I was dealing with the aftermath of a difficult divorce and was temporarily isolated from my two older kids. The juxtaposition of tragedy and joy during that time are the basis of the song. For a while, I thought I might lose my mind, but somehow I managed to hold on to a thread of sanity. Eventually I was reunited with my kids and moved on to much easier chapters of life. At the same time, we had a spring with an incredible amount of rain and there was concern that the river might overflow the dikes, which would have flooded our house. Yet, just as I managed to not go crazy, the dikes held and a catastrophic flood was avoided. So, as they say: ‘I wrote a song about it.'” – Benny Sidelinger

Track Credits:
Benny Sidelinger – Vocals, guitar, Dobro
Michael Thomas Connolly – Bass, telecaster, vocals
Aida Miller – Vocals
Jason Haugland – Drums

Clarence Tilton, “Fred’s Colt” featuring Marty Stuart

Artist: Clarence Tilton
Hometown: Omaha, Nebraska
Song: “Fred’s Colt” featuring Marty Stuart
Album: Queen of the Brawl
Release Date: October 11, 2024 (single)

In Their Words: “We asked Marty to get involved with ‘Fred’s Colt’ as we had met and opened for him a couple times in our hometown, [Omaha]. Marty agreed and played his famous pull-string telecaster, the original guitar of Clarence White of the Byrds. It’s a guitar we were well acquainted with, as we are huge Clarence White fans. Marty’s voice seemed perfect for the second verse of this song, which recounts the potentially sordid history of a strange family heirloom – an old Civil War-era Colt pistol. Marty not only lent us his voice for a verse and his guitar wizardry for a solo, but even added parts throughout that we did not realize were missing. Marty Stuart is a national treasure, and we are so honored and excited that he spent a day with our tune and did what only he can do!”

Track Credits:
Words and music by Chris Weber.
Chris Weber – Rhythm electric guitar, acoustic guitar intro, vocals
Marty Stuart – Electric guitar (Telecaster), first solo, second verse vocals
Corey Weber – Electric guitar throughout, second solo
Paul Novak – Acoustic guitar
Craig Meier – Bass
Jarron Storm – Drums, percussion, vocals

AEA Sessions: Gaby Moreno, Live at AmericanaFest 2024

Artist: Gaby Moreno
Hometown: Los Angeles, California
Songs: “New Dawn,” “Solid Ground,” and “Luna de Xelajú”

In Their Words: “It was a wonderful experience performing a few songs for AEA at Bell Tone during AmericanaFest. The sound quality and the energy in the room were unforgettable.” – Gaby Moreno

“Gaby is charismatic and energetic. She lights up a room when she walks in and when she performs, it’s electrifying.”
– Julie Tan, AEA Ribbon Mics

Read more here.

Photo Credit: Mon Rovîa by Glenn Ross; Loose Cattle by Joseph Vidrine.