I moved around a lot as a child – from Ireland to Indianapolis to Puerto Rico to Seattle to Spain and more. It was so wonderful to experience different cultures and connect with new people. And I think these experiences caused me to have a restless soul. I am always looking for new people to meet and new experiences to have. I am always searching for meaning in life and for authenticity and joy. This Mixtape is for people struck by a seemingly endless sense of wanderlust who are enjoying the journey as we try to figure out this thing called life. – Katherine Nagy
“All Done” – Katherine Nagy with Austin Johnson
I wrote this song as I started living life the way I want to live. We only get one shot and I don’t want to have regrets. So the people-pleaser in me is “done pleasing everybody else, I can only be myself.”
“Starting Over” – Chris Stapleton
Sometimes I just want to pick up and start over again, like I did so many times as a child. A new house, new roads, new people, new experiences. I daydream about “starting over.”
“Into the Mystic” – Van Morrison
He is a fellow Irishman and I have always admired the passion of delivery and arrangements he uses in his songs. This classic has long rocked my gypsy soul.
“Angela” – The Lumineers
I have driven a Volvo since I was 16 years old, so I love the lyric about the “Volvo lights.” And so many times I’ve gone for long drives with the windows down listening to great songs that resonate with me the way this one does.
“Gypsy” – Stevie Nicks
I just adore Stevie and her essence. She is magical and whimsical and so in touch with her heart and art. I have always loved this song and related so strongly to it for years.
“Send me on My Way” – Rusted Root
This was one of the most fun concerts I have been to. It was at the House of Blues in Chicago. I was young and free as I danced all night enjoying the vibes of their music.
“Midnight Train to Georgia” – Indigo Girls
If the Indigo Girls are on the train – I am coming! Love their harmonies and beautiful melodies. This is a favorite and I perform it at my own shows.
“I Still Haven’t Found What I’m Looking For” – U2
Me neither, Bono! (another fellow Irishman) I am still searching over here. I’m always writing to process life and try out new things. Life is a journey of searching, and I’m not sure we ever find what we are looking for – wish I knew.
“Mockingbird” – Ruston Kelly
I am a sucker for beautiful guitar work and pedal steel. The intro to this song gets me every time and it just keeps getting better with the harmonica. It makes me want to go on a road trip. Plus, I love birds!
“The Time I’ve Wasted” – Lori McKenna
Let’s not waste time doing things or being with people that do not bring us joy. Life is too short, and “time goes by and when it’s gone it’s gone.” Live your life authentically – be brave.
“Shine” – Dolly Parton
I love Dolly and I love ’90s music, so this cover is just amazing and resonating with me. And I always want heaven to shine its light down!
“The Architect” – Kacey Musgraves
Kacey is an amazing writer. I love her music. This little gem of a song is so profound, as it’s trying to understand this beautiful life. Is there a higher power and what’s the masterplan?
“Keeps Getting Better” – Katherine Nagy
Stay optimistic and stay checked-in with life. Stay true to your heart and surround yourself with people that love you. If you do, it will just keep getting better.
To say good bye to the week and to August, we’ve got one more premiere round-up for the month – and, as always, You Gotta Hear This!
Among all the fine new music being released, we’re highlighting a handful of tracks newly minted or arriving very soon. First, there’s “Bring Out The Country (In Me),” the sole original number from Danielia Cotton’s new EP paying tribute to Country Music Hall of Famer Charley Pride. Then, check out singer-songwriter David Luning’s “Every Day I Am,” which explores the fear and anxiety of being a fugitive on the run.
As you continue, John Surge and the Haymakers bring us a properly Tex-Mex track, “Marisol,” from their upcoming album Maybe You Don’t Know Me. And, to bring us home, North Carolina-based bluegrass outfit Unspoken Tradition have a stellar cover of Alabama’s hit, “I’m In a Hurry (And Don’t Know Why).”
It’s all right here on BGS and You Gotta Hear This!
Danielia Cotton, “Bring Out The Country (In Me)”
Artist:Danielia Cotton Hometown: Hopewell, New Jersey Song: “Bring Out The Country (In Me)” Album:Charley’s Pride: A Tribute to Black Country Music Release Date: August 29, 2024 Label: Cottontown LLC with Symphonic Distribution
In Their Words: “Coming to New York City from a small town was a major transition for me. What surprised me was how much of my small town ways and sensibility I didn’t lose. The big city can engulf you, however that made me more myself and embrace more of my country roots. Big cities, especially New York, are full of what is seemingly countless numbers of confident people, when in fact so many are struggling with the same need to define themselves and stand out. I think I finally realized that what makes me most unique is when I am true to myself.” – Danielia Cotton
Track Credits: Danielia Cotton, Marc Copely – Songwriters Danielia Cotton – Lead vocals Marc Copely – Guitars, backing vocals, programming Andy Hess – Bass Aaron Comess – Drums, percussion Ben Stivers – Piano, organ Rocco DeLuca – Pedal Steel Produced, engineered, and mixed by Marc Copely at Casa Copely Recording, NYC. Mastered by Greg Calbi.
David Luning, “Every Day I Am”
Artist:David Luning Hometown: Los Angeles via Forestville, California (Near Petaluma) Song: “Every Day I Am” Album:Lessons Release Date: September 6, 2024
In Their Words:“Movies, songs, and stories, particularly set in the American west, have highly romanticized the life of running from the law, but in reality, in the long run, it’s gotta suck. So much fear and anxiety all the time. Always on the run. ‘Looking over your shoulder.’ Fleeing the consequences of your actions. Can’t trust anyone. At least I know in my life, running from my fears or consequences of things that I’ve done has never improved a thing. So on the surface, ‘Every Day I Am’ is about somebody running from the law, but underneath lies the story of somebody that is ‘…always hoping that one day it’ll be alright,’ without realizing that it could be, if they stop running.” – David Luning
Track Credits: Written by David Luning. David Luning – Vocals, Acoustic guitar, electric guitar, piano Linden Reed – Drums Ben Dubin – Electric bass Dave Sampson – Electric guitar Alex Leach – Electric guitar Damien Lewis – Percussion, sound design
John Surge and the Haymakers, “Marisol”
Artist:John Surge Hometown: Los Angeles, California Song: “Marisol” Album:Maybe You Don’t Know Me Release Date: September 6, 2024 (single); September 20, 2024 (album) Label: Blackbird Record Label
In Their Words: “‘Marisol’ is a historical lament about a woman who claims ‘my love is like a heart attack, the kind of love that’ll keep you coming back.’ It has a rollicking feel that comes straight from the Doug Sahm playbook. The song has a natural Tex-Mex feel. I kept asking Tommy [Detamore], ‘What would Doug do?’ Detamore shared stories of producing Sahm’s final album, The Return of Wayne Douglas. We followed that inspiration and traveled down Sahm Highway.” – John Surge
Track Credits: John Surge – Vocals, acoustic guitar Randy Volin – Electric guitar, baritone guitar, harmony vocals Brennen Leigh – Harmony vocals Michael Guerra – Accordion Brad Fordham – Bass Tom Lewis – Drums Floyd Domino – Organ Kevin Jarvis – Percussion
Unspoken Tradition, “I’m In a Hurry (And Don’t Know Why)”
Artist:Unspoken Tradition Hometown: Cherryville, North Carolina Song: “I’m In A Hurry (And Don’t Know Why)” Release Date: August 30, 2024 Label: Mountain Home Music Company
In Their Words: “I was born in ’85, so ’90s country was a part of life during that period. I still use ’90s country to get back there, nostalgically. Alabama was an awesome country band, and vocally, this song is just so fun to sing. The a capella intro always grabbed my attention back then and knowing our band has so many capable singers, I wanted to give this one a try as a fun cover. As a father with a family, a full time job, and also juggling music and other things, the message of the song is a reminder to slow down some and enjoy the little things.” – Audie McGinnis, guitar and lead vocals
Track Credits: Audie McGinnis – Guitar, lead vocals Sav Sankaran – Bass, vocals Tim Gardner – Fiddle Zane McGinnis – Banjo Ty Gilpin – Mandolin
Photo Credit: Danielia Cotton by Chía Messina; Unspoken Tradition by Sandlin Gaither.
Which artist has influenced you the most – and how?
John Denver is the reason I started playing music. When I was 6 years old, I heard “Leaving on a Jet Plane” for the first time. The feeling that the song gave me as a kid changed my life. I think that was the first time I became conscious of how music made me feel. I loved the song so much that I had my mom, Wendy, burn a CD with it 18 times in a row, and I would listen to it every single night for years to fall asleep.
What was the first moment that you knew you wanted to be a musician?
This moment is closely associated with the story of John Denver. As I mentioned, after hearing “Leaving on a Jet Plane” for the first time, I was inspired to find a way to evoke the same emotions in others as I felt when I heard his song. My dad has been in a band since I was a kid and he really introduced me to music. Both my parents have always been very supportive of my music career. Sometimes, I joke that I didn’t choose to be a musician and that this life chose me, but I couldn’t imagine doing anything else. I have a strong desire to express deep emotions through writing. My only goal in music is to evoke emotions in someone through my writing; anything.
Genre is dead (long live genre!), but how would you describe the genres and styles your music inhabits?
I truly appreciate and enjoy the concept of music genres. Personally, I feel like I gravitate towards being a folk singer, but I draw inspiration from a variety of influences. Gillian Welch and David Rawlings have had a significant impact on the way my partner and I, who is also the producer of our upcoming album, approach our music. We were mainly inspired by Gillian and David, as well as Jake Xerxes Fussell. We often joke that we could tour with a very traditional country band or with a highly indie group and still fit right in, bringing a touch of twang to the mix.
What’s one question you wish interviewers would stop asking you?
I often get asked about my songwriting process, and to be honest, I find it difficult to explain. While I love discussing my approach to songwriting, including lyricism, phrasing, and the darker themes I explore, the actual process is quite messy. Sometimes I don’t even understand my own process. I also struggle with the question of whether I start with chords or lyrics first because, truthfully, I have no idea.
What would a perfect day as an artist and creator look like to you?
I envision myself camping by the lake on a sunny day, with guitars in hand. Nature is a big inspiration for my writing.
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With a sound that’s like rain in the desert for fans of early rock and country, the Cactus Blossoms let their modern-classic vibe bloom on their latest album, Every Time I Think About You. But with pair of big shows to help celebrate the launch, this band is living very much in the present tense.
Made up of Minneapolis-based brothers Jack Torrey and Page Burkum, the duo’s new project arrives August 30 and once again captures the full, timeless magic of spacious melodies, tasteful twang, and tightly-wound harmony. That night, they’ll mark the release with a long-overdue debut at the Grand Ole Opry – where they ought to find a few like-minded fans of keeping music’s traditional cool factors alive – and then head home for a milestone gig in St. Paul.
After a trio of well-received albums and more than 10 years of riveting shows, it’s the perfect setup for a duo who seem totally at ease blurring the American roots timeline – and who promise they couldn’t fake it if they weren’t.
“I don’t think we’re very good at striving,” Torrey says, speaking from the verdant midsummer shores of Lake Superior on a much-needed break from the road. “I do think [this record] has a comfort level, especially since we’ve been able to start touring again, and really hit it. It’s been feeling like we’re a unit and we can kind of read each other’s minds a little bit.”
Speaking with BGS ahead of the release of Every Time I Think About You, Torrey and Burkum filled us in on what that telepathic bond helped create, and where it’s coming from.
A lot of Every Time I Think About You features the “modern-classic” sound you have both made a calling card – like it would sound fresh a few decades ago and today as well. But is that dangerous territory for a band? You don’t want to be pigeonholed as a throwback, right? So how do you walk the tightrope?
Jack Torrey: I think there’s an interesting aspect of that from our perspective. I got super into Bob Dylan and Hank Williams and I was singing songs by both of those guys way back, 18 years ago or whatever. Page was into Jimmie Rodgers and those other super old country things. We start singing together and it’s like if you harmonize on a Hank Williams song, it kind of starts to sound like an Everly Brothers song. You’re kind of accidentally falling into that and getting into territory that people went into 60 years ago – but it’s new for us and I think that has kind of kept happening. We’re not recreating or trying to do anything like listening to records and imitating it. It’s almost like we’re carving our own mini canyon, that resembles some of the other ones from the past.
Page Burkum: I was kind of thinking about this as a way of summing up our style and influences: The Band, The Traveling Wilburys. Those are like my four main food groups or something. I love where all those guys are coming from – a little Roy Orbison, a little Bob Dylan. They balance each other nicely. And I was thinking, when that’s your diet, you’re going to make something that comes out [like Every Time I Think About You]. … But we love other totally different kinds of music outside of that realm too, and I hope a little bit of that gets in there, too.
Where is the title track, “Every Time I Think About You,” coming from? It’s got that lovely, warm-and-fuzzy feel of a mid-century romance ballad to it, but maybe something more, too …
JT: That one is kind of a love song to losing a friend – it’s kind of a heartwarming grief, where you’re almost being consoled by the memory of someone. And that’s where that song came from. The way we wrote it, I just had a couple lines, and then Page jumped in and started singing the beginning of the chorus, and then I sang back the next line, “Every time I think about you …”
PB: Sometimes Jack and I have made fun of biopic movie scenes like in Walk the Line, where it’s like Johnny and June or whoever sit down with a guitar and they’re just writing a song in real time. Like, they sing one line and then pause dramatically, and then sing another line and then it cuts to them playing it for a thousand people or something. But in a funny way, that was kind of the closest to that. [Laughs]
JT: I was like, “I didn’t ask you to jump in and work on my song … but that’s pretty good idea. Let’s do it.”
The album kicks off with “Something’s Got a Hold On Me” – which almost has a Southern rock swagger to it. Where does that come from? Is that your Tom Petty influence showing?
PB: When I first had the idea for that one, the very original idea that set it off was actually a weird little piece of a Jimmie Rodgers song. So, I stole that line and that melody, which is about two notes or something, but it kind of inspired the whole song in a weird way. To me there’s some blend of Lead Belly and The Beatles or something in my mind, but then it ends up just sounding like a country-rock two step. That’s just what happens. It’s fun to roll with stuff. … I threw in another Jimmie Rodgers line, that “T for Texas, T for Tennessee,” to kind of keep that tribute going.
Oh that’s right, I should have known. Why did you end up finishing on “Out of My Mind (On Sunday)”? Is there a reason that seemed to wrap things up?
JT: It wasn’t a big dramatic decision, but it seemed like a nice bookend from “Something’s Got a Hold on Me” to end with being a bit of a crazy person. [Laughs]
PB: To me it actually kind of leaves the door wide open. I don’t know if you want to cap things off with the sweetest, most-concise thing you have, you know? There’s something about it that’s a little bit out there to me.
You’ll make your Grand Ole Opry debut the night this album drops. Then you’re having a big hometown party with show at Fitzgerald Theater in St. Paul [on September 13]. What does that mean to you?
PB: We’ve got one of our favorite local bands, Humbird, joining us for that [St. Paul] show, so that’ll be really cool. We’re trying to get some of our collaborators to be involved too, if we can spice it up with an extra ensemble beyond our regular band. So we’re trying to get a piano on stage or something. I mean, it’s a theater show, so it’s a little different. And it’s our first time playing our own show at this theater. It’s a really beautiful building and I never thought I’d play there when I was a kid.
JT: It’s where [A] Prairie Home Companion used to be back in the day. Page and I actually played there when we were first getting started, which was a special time. So it’s cool, and should be fun. Some people can come that don’t like to stand, since we play a lot of clubs. [Laughs]
When life hands you lemons, sometimes it’s better to just burn them and start anew rather than make lemonade. That’s exactly what India Ramey does on Baptized By The Blaze, the singer’s empowering fifth album that sees her shedding the trauma that had haunted her since seeing her father abuse her mother as a child.
For years Ramey tried coping by working as a domestic violence prosecutor, but turned to music when that career fell apart in 2009 with her first album, Junkyard Angel, already in hand. Despite all the pain her father inflicted, she says her first musical memories were with him.
“He’d play Waylon Jennings and Willie Nelson’s Wanted! The Outlaws on repeat,” Ramey tells BGS. “Through that I became obsessed with Jessi Colter. I’d get my mom’s curling iron and sing her songs while standing on our living room ottoman. I always say that my dad was such a bad guy. He never gave me anything except for my love of country music.”
But as Ramey’s own career in music materialized, a 12-year dependence on the daily tranquilizer Klonopin began to rear its head. Taken to quell the panic disorder that’s lingered since first witnessing her abusive father’s actions, Ramey sought to gradually come off the drug during the pandemic before its severe withdrawal symptoms landed her in rehab. There, through stubbornness and self-determination, she was able to reclaim the power over her dependence and the trauma that caused it, vowing to never go back. Baptized By The Blaze is her journey to become a better version of herself.
“I went through a lot of stuff — a metamorphosis if you will,” says Ramey. “It was really hard and really scary, but I got so much personal empowerment out of it. Since then, I’ve been motivated to pass that on to bring folks strength and remind them that the tragedies they’ve faced give you superpowers to handle anything else life throws at you.”
Helping Ramey realize those superpowers was her therapist, a conversation with whom inspired the song “The Mountain.” According to Ramey, it occurred about a year into their sessions after something had left her in a puddle of shame and defeat. She explained how our anxiety attacks are similar to avalanches in that we don’t know the tools needed to combat them until going through it. But every time there is an avalanche you’ll have more tools and awareness to recover because you are the source, you are the mountain.
“It was the most empowering thing anyone had ever said to me in a moment where I was so vulnerable,” admits Ramey. “It left me feeling so powerful and wanted. This song is my way of spreading that beautiful message she gave to me.”
Another metaphor central to the album comes on its title track, on which Ramey compares her journey of redemption to a phoenix rising from the ashes. It was written while she “was thinking about that moment where I decided to burn it all down, to burn all of those defense mechanisms that I’d put in place to avoid confronting my trauma.” Despite its personal and well-meaning message, the song didn’t always resonate with everyone on her team though, with one person even calling the song over-dramatized. This led Ramey to shelve it for a couple years until producer Luke Wooten chose to include it on the new record.
“As artists, we’re always second guessing ourselves, so to have somebody on my own team tell me I should leave the idea behind really hurt,” Ramey confides. “Because of that, I struggled with self doubt for a long time about going all in on it, but in the end I went with my gut and I’m glad I did.”
Another example of being misunderstood and defying the expectations of others comes on “Piece Of My Mind,” a soft but stern ballad about an industry type who found out about her past working in law and said if he’d known he would just assume all her albums were vanity projects. On it, Ramey’s signature sass shines through as she urges the person to tell them their story: “Just a snapshot is all you see, you don’t know shit about me.” Before going on to describe how “I’ve fought wars and still they haunt me” and likening each day to being Halloween.
“It pissed me off, because that judgment he had was denying me my authentic story,” exclaims Ramey. “He was denying me the suffering that my family and I had gone through because of a job, so this song is me telling people exactly who I am, which is a lot more than any article or bio can capture.”
While most of the album is derived directly from Ramey’s own personal experiences, two songs that veer from that path are “Silverado” and “Down For The Count.” Both are stories about badass women living life on their own terms unburdened by the judgment and shame often delivered through patriarchal transgressions. “Silverado” details a one night stand at the motel El Dorado and “Down For The Count” highlights a streak of promiscuity to get over a past lover (“I put ten men between you and me”).
“The women I wrote about in these songs are people I think any woman will resonate with, because they’re about women doing whatever the hell they want,” she asserts. “It’s about doing things that dudes do all the time without the same level of judgment and are unapologetic about it. They’re my way of giving the middle finger to the patriarchy.”
No matter the delivery, Baptized By The Blaze charts out a journey of empowerment and recovery that is sure to provide strength and an upbeat honky-tonk soundtrack to anyone with a listening ear. It’s also proof that Ramey’s best work isn’t behind her and that her renewed focus has her poised for a bright future, despite the scars that once plagued her past.
“The process of making this record has taught me just how strong and powerful that I am, which are both things I was never convinced of beforehand,” Ramey reflects. “My hope is that it does the same for listeners and helps guide them on their own journeys.”
Ryder Grimes is one Texas Country’s most exciting up-and-comers. He’s got a vintage, old soul style and one-of-a-kind voice. On today’s episode of Only Vans we dive into starting early, self-confidence, fashion sense, and the classic “van vs. bus” argument.
Editor’s Note: Only Vans with Bri Bagwell is the latest addition to the BGS Podcast Network! Read more about the podcast coming on board here. Find our episode archive here.
We want to share some things that bring us joy. Oldtone Music Festival is an intimate roots music festival with camping and dancing that we’re happy to curate and support as producers. It takes place on a staggeringly beautiful hilltop on a working family farm in North Hillsdale, New York, about 90 miles away – and a world away — from New York City on September 5-8, 2024.
Oldtone gathers musicians and fans of many genres of traditional North American roots music, including old-time, bluegrass, Cajun, Zydeco, conjunto, honky-tonk, and so much more. This playlist gathers the best and brightest artists that are playing the 2024 festival. We’d love all roots music lovers to join us, but whether you can make it or not, you can get a taste here! – Walton Goggins, Executive Producer, and Trevor Roush, Executive Producer and General Manager, Oldtone Music Festival
“I’m Gone” – Kiki Cavazos
Kiki Cavazos is a very special songwriter from rural Montana who’s making her debut at this year’s festival. She rarely plays live – we mean, really, really rarely – so we’re excited to have her joining us for Oldtone! So many musicians have told us that they would have come to Oldtone just for the chance to see Kiki, even without the rest of the amazing lineup and beauty of the location.
“Less Honkin’ More Tonkin'” – The Deslondes
This will be The Deslondes’ second year playing the festival and this song is from their new live album, a taste of what you’ll hear when they rock the stage. They have spent the past year touring hard and opening for the likes of Margo Price and they will probably ask you for a dance when they are enjoying the other acts during the night
“Louisiana Aces Special” – Jesse Lege and the Southern Ramblers
Jesse Lege, “the greatest living Cajun dance accordion player,” is one of the pillars in traditional Cajun dance music and has played every single Oldtone festival since 2015. He’s not the youngest musician at the festival, but he plays hard for four hour stretches without a break – ‘til all the dancers collapse.
“High on the Mountain” – Sweet Megg
This year for the first time, alongside her captivating voice Sweet Megg is bringing her complete band to Oldtone. She’s also currently the vocalist of Cirque du Soleil.
“Love Me Like You Do” – Zach Bryson
On this track, the incomparable Zach Bryson of Nashville is backed up by what is essentially the Oldtone house band. And, it was recorded not too far from the farm by Oldtone staff member Donny Dinero.
“Forty Years of Trouble” – Danny Paisley & the Southern Grass
What can you say about Danny Paisley? Well, he was the 2016 International Bluegrass Association Male Vocalist of the Year. In other words, he is the real deal!
JP Harris is an icon in the Nashville honky-tonk scene and he’s been traversing the roads of America since 2007. JP, better known as “Squash” in old-time music circles, is the early front runner for “person who will have the most fun at Oldtone this year.”
“Ay te dejo en San Antonio (I Leave You in San Antonio)” – Los Texmaniacs
We’re thrilled to have the GRAMMY-winning conjunto band Los Texmaniacs joining us! Just this year, their frontman was inducted into the Conjunto Music Hall of Fame.
“One-step de Rôdailleur” – Jordan Thibodeaux et les Rôdailleurs
Jordan Thibodeaux et les Rôdailleurs and Cedric Watson are the new ambassadors of traditional Cajun culture. They’re also putting their own spin on it and bringing a new sound to Cajun music. This trio will also be cooking up a cajun meal for all the staff to enjoy during the fest!
“Valley By the Stream” – The Down Hill Strugglers
The Down Hill Strugglers were all proteges of the late, great John Cohen. This track is off their awesome new album of all original old-time songs. They have been a staple of Brooklyn’s Jalopy Theater for well over a decade.
“Stoned on a country song” – The Neon Moons
The Neon Moons are an amazing honky-tonk orchestra of 10 members based in the Hudson Valley, essentially our very own Oldtone house band. They truly embody the Hudson Valley a close-knit mix of folks who have grown up here, like Trevor, and transplants, like Walton, who have found a true home here.
“Reuben’s Train” – Foghorn Stringband
Foghorn Stringband are a very cool (and well-known) four-piece made up of two couples. One couple lives in Washington and the other couple lives in rural Canada. They always pack the dance floor at the festival! Members of Foghorn will surely be seen jumping up to play songs with other acts from morning to night during the whole four days of Oldtone.
Thanks for listening and keep on Tonin’!
Photo Credit: Molsky’s Mountain Drifters by Reed Stutz; Walton Goggins by Shayan Asgharnia.
Wild Ponies is a country-folk duo composed of Doug and Telisha Williams. As partners in music and life, they have developed a cohesive and refined sound. Their album, Dreamers, is out August 23, 2024. The album is an exploration of life, love, and loss, covering joy and grief, queerness and polyamory, and their journey pursuing fertility treatments. It’s a beautiful and touching collection of songs.
Before crafting Dreamers, the duo were asked by a fan where their dreams were. They reflected on the idea of where, not what, their dreams were and their response was, “Our dreams are everywhere, buzzing around like energetic bees… At times, our dreams are hard to wrangle – a wild pony…”
This idea of dreams set the concept for the new album. We are excited to dive into Dreamers and Doug and Telisha’s experiences as touring musicians in a queer, polyamorous family.
What does the album Dreamers mean to you personally? What excites you the most about sharing this release?
Telisha Williams: This record is very personal. We talk about becoming a polyamorous triad, being queer foster parents in the state of Tennessee, struggling with fertility issues, working on being more mindful. It’s basically a peak into our home, hearts, and heads. I’m excited about the way it sounds. Brandy ZDAN did a beautiful job producing this record. The band is amazing, and we couldn’t be more proud.
Doug Williams: Dreamers is the story of who we are. It’s not all easy and it’s not all pretty, but it’s all true. I love this record. Maybe that’s not something I should say about our own work but it’s true – I’m really proud of it.
Your song “Heartbeat” touches on your experience with fetal embryo transfer and even includes your child’s in-utero heartbeat. Is there anything you’d like to share about your journey with fertility treatments?
TW: Doug actually wrote that one after we thought that we had lost our pregnancy. We had a pretty traumatic “episode” when I was at about 5 weeks and we were sure that she was gone. The next morning, we went in for an ultrasound and there was her sweet little heartbeat on the screen. Strong and healthy. My process to becoming a mother was challenging and worth it. Our first embryo was a gift from a dear friend and we were so excited about the possibility of raising our genetic siblings together. Unfortunately, that one didn’t take and we didn’t know how to move forward. Our implications counselor connected us with another woman wanting to do an open embryo adoption. We met over zoom and now, we’re family. She has 2 boys that are the genetic siblings of our daughter. They live nearby and we all get to spend time together. It’s been an incredibly generous journey.
DW: This one was tough to write. We were sure we had lost another embryo. Sure of it. It was pretty difficult. So, we scheduled an emergency ultrasound, but we weren’t feeling good. The joy and tears when we saw that heartbeat on the screen is something that I just can’t describe. I tried to describe it in the song. Just pure joy and gratitude.
How do you balance a career in the music industry and touring with your roles as parents? How does polyamory play a role in this for you?
TW: We’re still figuring that part out. There are some advantages of being a three-parent household. Our partner Laura also travels for work as a photographer and we’re able to help each other as the parents that are holding down the homefront from time to time. We also enjoy traveling all together as a family of 5, but it’s hard to find room for the bass. [Laughs]
DW: I don’t know that there is really a good balance. Accepting that makes it easier, maybe? When you know it’s just going to be a little fucked from time to time, it’s just not as much of a surprise. But we’ve got to prioritize what’s best for the kiddos. And, I do think it’s good for them to see the possibility of living life on your own terms. That’s what we want for them, so we try to model it.
Is there anything you’d like to share with our audience about queerness, polyamory, and love, and how these experiences can vary for different people?
TW: We didn’t necessarily seek out polyamory. Doug and I are both bi/pansexual and have had an ethically non-monogamous relationship for a long time. When we met Laura and started spending time together as friends, we started having “more than friends” feelings for each other. We realized that it didn’t divide or diminish our experience as a couple. If anything, we felt stronger and more connected with each other and Laura. That realization that love was not a finite resource changed everything for us. We know that this relationship model is not for everyone. It requires a great deal of communication and intentionality, but we couldn’t be happier or more proud with this dream that we’re creating.
DW: Yeah, it takes a lot of communicating. A lot of talking. Check-ins. Podcasts. Books. Like Telisha said, we kept a lot of our identity fairly quiet for most of our career. It feels really good to be able to completely live our lives out in the open now. It can be a little scary in the state of Tennessee at times, but at this point it feels like the right thing to do is stay and fight to make it better here. Hopefully we’ll be able to continue to do that and make is safer not only for us, but for the rest of the queer community as well.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
TW: I can’t name anyone specifically, but I will say that when folks from the LGBTQ+ community show up at our shows or events we’re hosting, it means the world. Feeling seen and supported by this community has transformed me as a human and helped me to be more open and available to support others in and out of the community.
DW: That is a good question. Honestly, just our community. For us, or for me, it just took a lot of talking and a lot of checking in with folks we know. Friends who were already out and very public.
Who are your favorite LGBTQ+ artists and bands?
TW: I mean, we have to acknowledge what Brandi Carlile has done for our community, right?! She’s really elevated and supported the LGBTQ+ community in so many ways. From there, I’d say my friends, Heather Mae and Crys Matthews. I’m inspired by the music of Adeem the Artist. The community is strong and talented, y’all.
DW: Oh yeah, all of the above – I was so blown away by Adeem The Artist! Such amazing songs. And Crys and Heather both have killer new projects. I also love Ana Egge, Anne McCue, Amelia White, Aaron Lee Tasjan… just all of our friends, I guess.
What does it mean to you to be an LGBTQ+ musician?
TW: It means that I can sing about all of it. I don’t have to hide in the stories and the pronouns. I can share the beauty of the love I am so lucky to have in my life. I can share it out loud, and I dress in way more colors than I used to. Taste the Rainbow, people!
DW: [Laughs] I love T’s answer. Yeah, it’s new for us to be so public about our identities. We were mostly closeted for a long time. Definitely publicly [closeted]. It feels so good to live our authentic life in front of people now. There’s so much joy in it. So much love. It’s a powerful and beautiful thing that we weren’t sure we’d ever feel comfortable sharing so openly and now I wish we’d done that a long time ago. It took us a while and it was a slow coming out even when we started the process.
What’s your ideal vision for your future?
TW: We want to keep making art and connecting with people. That’s been our drive all along. That connection and building community. We plan to tour more intentionally in the coming years, because home has a bit more of a pull with the kiddos and family, these days. We also plan to travel with them, introduce them to the amazing community of music fans, and show them that families are made, not just born.
DW: Yeah, the ideal vision would be a life where our family and our career work together. We’re definitely finding ways to do that. It’s difficult, but I don’t think it’s impossible.
What is your greatest fear?
TW: I guess, since the pandemic, I’ve been a bit afraid of losing myself as an artist. When we couldn’t get out and “do what we do,” we weren’t exactly sure who we were anymore. It turns out that we’re still as connected to those fans and friends as we’ve always been, it just looks a little different now.
DW: Woof. You mean other than a second Donald Trump presidency? I don’t know – I think again, honestly, it has to do with identity. I love my new role as “Daddy.” I just want to do a good job and take care of these kids. I also really want them to see that it’s possible to live an artistic life. I guess my greatest fear is failing them in some way.
What would a “perfect day” look like for you?
TW: Oooo! I’d get to sleep until the big number is on the 7, then I’d have a fun morning with the kiddos, take them to their amazing daycare, come back for a walk/workout, morning pages and some time to write or play music. Then, the afternoon, I’d intentionally filter through some emails, pick the kiddos up, play, play, play, throw in a dance party and a jam walk, and sing them to sleep. Then, I’d have a little connected time with my partners and hit the hay. Throw in a coffee, walk, or cocktail date with a friend a few times a week, and that sounds pretty great to me!
DW: A perfect day… High of 82 and sunny. Like T said, sleeping a little late would be such a luxury. Then a little morning time with the kiddos before diving into work. Do a little writing, play some guitar? Then around lunch time take a nice twisty motorcycle ride to a great taco truck about 45 minutes away. Come home, get a little more work done, hang with the family and have a great dinner together. After the kids go to bed, maybe read a little while or listen to some vinyl and enjoy a drink or two. And if we’re really talking about a perfect day, there’s a little more… but we’ll stop there.
Why do you create music? What’s more satisfying to you, the process or the outcome?
TW: I think the outcome is more satisfying to me, but I also love the process and I believe to my core that the process is more important than the product. I know that music has healing powers. I have experienced that first hand, so that’s why I create music. To heal and experience joy, share or release sorrow, express disappointment or hope. Music and emotions are directly related, in my mind, so in order for me to be healthy and happy and present, I need to be creating.
DW: We talk about this all the time! Yeah, we’re huge believers in the process being more important than the product. But, still, it’s such a great feeling to have a new little song and watch it go out into the world and connect with people! I think that’s why most artists create – the desire to connect, to say something. The good that the process is doing in our lives and in our heads is something we usually discover later. Sometimes that even happens with songs no one else will ever hear.
What are your release and touring plans for the next year?
TW: Dreamers will be released on August 23. We’re touring very intentionally for the remainder of the year with shows in the Southeast and Midwest, mainly. We’ll continue to tour in support of the record in 2025, balancing our time at home with our family and out on the road. We’re excited to see where this new record takes us!
DW: Yeah, intentional touring is the main thing, I think. We won’t play as many shows, so if you see us coming to your town, get tickets! We’re just going to be a little more precious with our family time. But, still creating art, still connecting, still holding community events. We’re so excited to get this record out. I’m really proud of it.
(Editor’s Note: Be one of the first to read our Good Country email newsletter, including exclusive features, interviews, and articles by signing up on Substack today.)
Few artists have changed country music like Lainey Wilson.
The bell bottom-wearing, slow-talking singer-songwriter from small-town Louisiana has taken the genre by storm since dropping her breakout third studio album, Sayin’ What I’m Thinkin’, in 2021, and she’s reshaped the country music industry along the way. With Wilson’s highly anticipated fifth studio album, Whirlwind, due August 23, she’s bound to shake things up once again.
If you’ve engaged with just about any form of media in recent years, chances are you’re already familiar with Wilson, who also starred on the fifth season of the wildly popular Paramount Network show Yellowstone. She’s racked up a room’s worth of trophies, including a Grammy, six ACM Awards and seven CMA Awards, including the coveted Entertainer of the Year award in 2023, which made her the first woman to win the honor since Taylor Swift’s win in 2009.
And somehow, in a genre that infamously allows mostly men to dominate charts and radio air time, Wilson has found mainstream country success commensurate with her critical acclaim. She’s notched four number ones on country radio when many women can’t even get their music played. She’s lent assists to big names like HARDY (2022’s “Wait in the Truck”) and Jelly Roll (2023’s “Save Me”), and for a while seemed to be country’s favorite feature – since 2021, she’s also collaborated with Dolly Parton, Lauren Alaina, Ernest, and Cole Swindell.
So, what is it about Wilson that resonates with so many people?
Her breakout single, 2020’s “Things A Man Oughta Know,” is a great place to start. Wilson’s voice is undeniable – like Parton or Loretta Lynn, Wilson has an inimitable sound and style – and a ballad like “Things A Man Oughta Know” gives her ample room to shine. Her voice is nimble and elastic, rich and dynamic. She knows when to stretch a note for emotional effect, like when she sings, “How to keep it hidden when a heart gets broke,” bending the final syllable to reinforce its ache. Lyrically, the track epitomizes the grittier side of Wilson’s persona, as she shows herself to be as adept at love as she is “chang[ing] a tire on the side of a road.”
That tune first appeared on Wilson’s 2020 EP, Redneck Hollywood, and would be reprised on Sayin’ What I’m Thinkin’. It would prove to be no fluke, too, as the LP released to near-universal acclaim. While much of commercial country music was steeped in pop and hip-hop influences, Wilson’s music was traditional but forward-thinking, sounding like AM radio classics, but from a fresh perspective.
It seemed as though Sayin’ What I’m Thinkin’ made Wilson an overnight success, but like most artists who come to Nashville seeking a big break, she had paid serious dues. After graduating high school, Wilson moved to Nashville from Louisiana in 2011, living in a camper van while she found her footing in town.
She’d honed her musical chops as a kid, first discovering a love for music as a young child. As she grew older, Wilson’s dream of pursuing a career in music grew, too, and by the time she was a teenager she had regular gigs as a Miley Cyrus impersonator, showing up at weekend birthday parties to perform for kids.
That would be good practice for building a career in Nashville, as grinding it out at local writers’ rounds, bars, showcases, and open mic nights is, for most artists, a Music City rite of passage. Nashville’s “10-year town” reputation, which posits that an artist must keep at it for a decade to break through, proved true for Wilson, who had spotty success between 2011 and 2021 before finally clearing the hurdle.
Wilson would follow Sayin’ What I’m Thinkin’ just a year later, eschewing a more traditional two to three years between records in favor of maintaining her momentum. Bell Bottom Country did just that and then some, catapulting Wilson from up-and-coming country star to household name.
The album, with its retro, Stevie Nicks-coded cover photo, also further developed the Lainey Wilson brand, which is more hippie than hillbilly. (Or rather, it’s both – the second track is called “Hillbilly Hippie,” after all.) Her bell bottoms quickly became part of her iconography, like Dolly Parton’s colorful makeup or Brad Paisley’s traditional cowboy hat. The imagery matches the mood of the music, as even Wilson’s more somber songs still have a sense of looseness, of freedom.
Perhaps a product of her decade-plus in the game, that ease is evident on Bell Bottom Country hit “Watermelon Moonshine,” a spiritual descendent of Deana Carter’s “Strawberry Wine” that is sure to be a country classic. Steeped in nostalgia and illustrated with vivid imagery (“kudzu vines,” “old farm ruts,” “a blanket ‘neath the sunset”), the song is a tender ode to young love, balancing youthful abandon with the melancholy of hindsight. It’s also a showcase for Wilson’s melodies, which are sticky but not cloying, and just poppy enough to catch the ear without distracting from the story.
Bell Bottom Country also birthed “Heart Like a Truck,” a massive hit for Wilson thanks, partially, to its use in a Dodge Ram commercial. The song is, blessedly, proof that a “truck song” can still be creative, as Wilson likens her aching heart to a truck that’s “been drug through the mud.” It’s also one of Wilson’s most powerful vocal performances, letting her play with dynamics before letting go and wailing toward the end of the song.
Wilson uses Bell Bottom Country to show off her broader musical ambitions, too. “Grease” is syncopated and funky, reminiscent of more recent work from The Cadillac Three or Brothers Osborne. “This One’s Gonna Cost Me” flirts with arena rock, made epic with production from Jay Joyce, famous for his work with Eric Church. And Wilson surprises with a vibrant cover of “What’s Up (What’s Going On),” the iconic 4 Non Blondes hit.
Such sonic detours hint at what might come with Whirlwind, whose title no doubt references the wild last few years of Wilson’s life. Lead single “Hang Tight Honey” is tight and catchy but sonically complex, with girl-group vocals and a rockabilly beat accompanying Wilson’s soulful, swaggering delivery. “4x4xU” recalls the mid-tempo drama of the best Lee Ann Womack songs, though with a funkier groove. And on “Country’s Cool Again,” Wilson reminds that her country roots run deep, with a deliciously twangy chorus that more than earns the song’s Garth Brooks and Brooks & Dunn references.
Despite these country bona fides, Wilson has still faced accusations of inauthenticity, particularly around her thick Louisiana accent. In a January interview with Glamour, she says, “I think sometimes, especially when people were first getting introduced to me, they heard my accent and immediately thought, ‘There’s no way this girl could be that country.’ The truth is, you can say anything you want to about me, but when you start talking about my accent, I’m ready to fight somebody because then I start feeling you’re talking about my family.”
Debates about authenticity in country music are a dime a dozen, though they tend to be directed at women artists more often than their male counterparts. You don’t hear skeptics of, say, Morgan Wallen’s accent or Tennessee roots, or of Jelly Roll’s history with incarceration. But a quick search of “Lainey Wilson fake” turns up video after video dissecting her accent, most of which barely – if at all – engage with her actual music.
For her part, Wilson seems largely unfazed by doubters and detractors. In that same Glamour piece, she later shares, “When you grow up somewhere like I did with the kind of people that I did, you can’t help but to be country. You can’t escape it no matter if you move eight hours away like I did. Country music was the soundtrack of our lives. We lived it out.”
While Wilson’s musical talents will always be her biggest draw, her larger-than-life personality is a close second. She’s a famously electric live performer, vamping across the stage and bantering with fans with such ease it seems second nature. That she does this without missing a note is what elevates her artistry – that CMA Award isn’t called “Entertainer” of the Year for no reason.
It’s hard to imagine a future in which Lainey Wilson isn’t the stuff of country music legend. She’s got the chops, the drive, and no shortage of charisma, and it’s easy to picture her as a Parton-like figure several decades from now, ushering in and supporting a new generation of country artists whose reverence for and innovation of the genre will help keep it alive.
What a joy to be asked to create a playlist for the Bluegrass Situation. It did not take long to land on the theme of Canadian music. The only difficult part was keeping it short. We have such a deep well of incredible Americana – or as some call it up here, ‘Canadiana’ – to pull from north of the border.
I struggled leaving out Neil Young, Joni Mitchell, and Gordon Lightfoot. But I hope to introduce BGS’s fine readership to some new music they might not already be hip to. I had to flex a little muscle and throw in a tune (a very Canadian one at that) by The Band. I would hope that a fair few of the folks digging into this playlist might be familiar with Ian Tyson, if only from his biggest number, “Four Strong Winds.” However, some might not be as acquainted with his cowboy records, the greatest of which is arguably Cowboyography.
Some of these folks you’ll find here are dear friends, others acquaintances, one is my big brother, a few are my heroes, all of them are among the finest songwriters on the planet. I hope that you will discover something new that you will love and cherish for years to come. What a pleasure it is to share the gift of music. – Bob Sumner
“Wide Open Plain” – Doug Paisley
Doug Paisley is a national treasure. A marvelous flatpicker. A songwriter’s songwriter. It is rare that I care to hear one of my favorite songs by an artist re-recorded. With “Wide Open Plain,” Doug takes a classic and reinvents it without losing the meat that made the original such a mainstay.
“Acadian Driftwood” – The Band
We here in Canada are very proud of the 4/5ths Canadian membership of one of the greatest bands to grace the airwaves. We love Levon, too, of course. A lot.
“Trucker Speed” – Fred Eaglesmith
Fred Eaglesmith at his finest here in all of his ragged glory. When Fred sings you believe him.
“Cut Fence (Let God Sort Em Out)” – Richard Inman
Inman is a remarkable songwriter. Here he is telling the story of a ranch fire. “Cut fence, let God sort em out, let them horses all run free.”
“All I Know” – Elliot C Way
Recorded in a tiny farm house. With intention Elliot captured the loose groove of Link Wray’s self titled record. Fiddle, acoustic guitar, steel and poetry.
“Dayton” – Fiver
Fiver (Simone Schmidt) is a terrifying artist. An artist whom every time I listen to her music I am reminded of why I began writing songs. For the songs themselves. Art for art’s sake. Purity.
“That Sweet Orchestra Song” – Kacy & Clayton
Pure joy, this track. Kacy’s soaring, meandering, frankly perfect vocal dancing atop cousin Clayton’s singular virtuosic guitar work.
“Lonnie’s on rhythm, Bud Romanski’s on bass/ McGlynn plays the steel guitar/ Commence with a four-count and the crack of a drum/ Turn around at the end of the bar…”
What fun.
“Empty Husk” – Daniel Romano
Exquisitely beautiful. Bold. I have a hunch if we opened up and had a peek inside Daniel Romano we might find an alien being, or a cyborg. It just doesn’t track that one man could be so incredibly exceptional at whatever it is he sets his heart and mind to.
“Born in Spring” – Chaya Harvey
You heard her here first. Bask in the joy of being in the club. Chaya won’t be underground for long. Soon she will be breaking hearts the world over with her tender and vulnerable voice of an angel.
“The Place I Left Behind” – The Deep Dark Woods
If you know, then you know. If The Woods are new to you, then boy are you in for a treat. A deep discography lay before you full of sonic riches.
“Summer Wages” – Ian Tyson
A finer cowboy singer you won’t find the world over. The author of “Four Strong Winds.” Here he is with “Summer Wages,” a gem of a song. Bobby Bare recorded an excellent version of this one on his 1981 record, As Is.
“For a Long While” – Colter Wall
It seems the more the world asks of Colter Wall, the more he would prefer to retreat to cowboy work on his Canadian prairie ranch. This one is from his latest record of cowboy songs, Little Songs. A beauty of a tune.
“Too Late” – Ben Arsenault
Ben Arsenault has just released a masterclass of a classic country record. These songs have it all. One after the other. The refrain, “It’s too late now, it was too late then/ it’s too late, it’s always been’/” will roll around in your head long after the needle leaves the vinyl. A shiny little nugget of country gold.
“Motel Room” – Bob Sumner
People seem to be diggin’ this one. It grooves. It hooks. Dobro, fiddle, telecaster. If words are your thing, they’re here too. An old friendship trying to survive the wilds of alcoholism. Nostalgia. Reminiscing.
“Bad Habits” – Johnny 99
Vibes. Johnny 99 gets the vibes. This one goes well with a late night toke. Only Johnny 99 (well, maybe Snoop) could get away with the lyric, “Yeah, I’m talking ’bout that weed smoke.”
“Born to Lose” – Brian Sumner
My big brother Brian. Years ago, his wife from his first marriage left quite suddenly. Brian holed up in their empty apartment and wrote a record. The songs run the gamut of the mourning process. Anger, sadness, forgiveness, understanding. Finally this incredible collection of songs has seen the light of day with Brian’s quiet little release of the demo’s from that time.
Photo Credit: Tianna Franks
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