Artist: The Two Tracks Hometown: Sheridan, Wyoming Song: “Canyon Wren” Album: It’s a Complicated Life Release Date: August 25, 2023
In Their Words: “I started writing ‘Canyon Wren’ as a series of two poetic pieces inspired by pictures from our place in Baja, Mexico, one of which is the cover of the single. From our place there, the sun rises over distant mountains and shines right into the faces of breaking waves along the Pacific coast. You check the surf while the arroyos and hillsides buzz with the sound of birds. The canyon wren is one of those birds. Often there can be fog, or dew hanging in the air – an elusive hint of moisture in this otherwise dry place. We love the calm, quiet, empty feel of those mornings as the landscape wakes up and I tried to capture a bit of that scene, and our time spent down there. Julie and I love empty, wild places as much as we love the busy life of performing music. I was musically inspired by the laid back, chill vibes of early J.J. Cale records, which I’ve listened to a lot over the years while driving through Baja, and tried to channel that sound into this track.” – Dave Huebner
Artist:Leon Creek Hometown: Los Angeles, California Song: “High Hopes” Release Date: June 28, 2023
In Their Words: “The origins of Leon Creek as a band stems from our love of story songs in the country tradition. ‘High Hopes’ incorporates this approach, creating a song that is our ode to perseverance. We got the band together in the studio and cut this to capture the energy of our live show blending newly-mined honky-tonk influences with our singer Chris Pierce’s powerful soul vocals.” – Leon Creek (Chris Pierce, Matthew Stevens, and Erik Janson)
Artist:The Chuck Wagon Gang Hometown: The current members are pretty scattered, but The Chuck Wagon Gang originated in Fort Worth, Texas Song: “I Will Not Cry Today” Album:Come Go With Me Release Date: June 30, 2023 Label: Mountain Home Music Company
In Their Words: “Our main focus for this Chuck Wagon Gang recording was to find new songs. We had received several from writer Tami Pockstellar, who had written ‘Two Gardens’ from our previous project. Tami’s lyrics and melodies capture the freshness we were searching for, and ‘I Will Not Cry Today’ is a perfect example. It was challenging but fun to add this exciting bluegrass-styled song. I really believe these lyrics will be uplifting to listeners because they encourage us to keep pressing on, no matter the situation we find ourselves in.” – Shaye Smith, The Chuck Wagon Gang
“’I Will Not Cry Today’ was a great opportunity to feature The Chuck Wagon Gang as a trio and bring in some bluegrass-styled accompaniment, which the group wanted to feature on this album. The bluegrass world has always had a kinship with the music of the original Chuck Wagon Gang and it was special to be able to blend the two worlds together on this new song for the Gang.” – Jeremy Stephens, producer
Artist:Christian Parker Hometown: Canton, New York Song: “You Ain’t Goin’ Nowhere” Album: Sweethearts Release Date: August 18, 2023
In Their Words: “I first heard this song by Bob Dylan on an acoustic guitar. But I was hooked when I listened to the opening pedal steel guitar from The Byrds’ Sweetheart of the Rodeo album. This song has been in my repertoire for decades, and it felt like I was recording an old friend! Tracer James’ interpretation of Lloyd Green’s pedal steel guitar perfectly opens the Sweethearts tribute. Earl Poole Ball played piano on the original album; hearing him on this tribute is a testament to his influence on the 1968 classic album! ‘You Ain’t Goin’ Nowhere’ is the opening track on the Sweethearts album, and it sounds like a train leaving the station and moving on down the tracks.” – Christian Parker
Urgency and patience are the two poles of New England songwriter Caitlin Canty’s magnetism. Her music invites you to quiet moments of reflection with unhurried confidence. When I first heard her song “Get Up” in 2015 I felt like I was receiving a very important magical message. Canty’s subsequent releases have further revealed her uncanny talents for grooving at the right tempo, describing the memorable image, leaning into elegant arrangements, and letting delicate moods hang in the air.
Canty’s new album, Quiet Flame, was recorded live with a string band and no drums. Live tracking has become her signature over the years, and this new record shows the authentic and powerful moments that can only be created in that setting. Produced by Chris Eldridge of the Punch Brothers and featuring collaborators like Sarah Jarosz, Brittany Haas, and Paul Kowert, Quiet Flame is not only a showcase for Canty’s unmistakable voice and songwriting, but also a celebration of her impressive artistic community.
Caitlin knows a thing or two about teamwork after many years of team sports. She was a soccer player and heptathlete through her college years, and I have a hunch that her athlete-brain and her musician-brain share a particular wisdom. Pacing, collaboration, focus, and graceful movement characterize her unique body of work. It was a true delight to talk about writing, friendship, family, touring, humility, and self-belief with this gem of a musician.
With her warm, agile voice and potent lyricism, Julie Williams is taking the country music world by storm. On June 2 she released her self-titled EP containing 6 original, remarkable tracks. Through her narrative lyrics and captivating melodies, Williams’ songs discuss a wide palate of her lived experience — as a Black woman living in the South, as a navigator of harmful sexual encounters, as someone who has loved, and as someone who has lost. Her record will take listeners on an evocative journey through her emotional landscapes, with peaks and troughs and everything in between.
Currently based in Nashville, Williams’ robust and radiant presence is enlivening the Music City landscape and beyond. Earlier this year, she was selected as one of CMT’s Next Women of Country, where she joins other major talent alumni of the Next Women of Country such as Margo Price, Kacey Musgraves, Lainey Wilson, Brittney Spencer, Lauren Alaina, Madeline Edwards, Maren Morris, Morgan Wade, and many more.
Williams is also a seasoned member of the Black Opry Revue, a collective based in Nashville that features Black artists in country, Americana, blues, and folk music. Her current solo tour is in full-swing as she enchants summertime audiences across the country.
BGS: Can you tell me a little bit about your personal history with music? Do you come from a line of musicians? Or did you find this path on your own?
JW: Neither of my parents play music or sing. There was always this joke in my family that I would listen to what my parents did and do the opposite. … There’s definitely a history of musicians in my extended family, but it wasn’t necessarily something where I grew up with everybody playing an instrument around me.
My parents always joked that I told them, “I can sing.” Ever since I was little, it was my way to relieve stress when on an airplane or a car ride or something. I was singing songs, making up songs, singing Barney songs. And I think for them, it wasn’t until they went to an elementary school play of mine, and saw me compared to some of the other kids, that they realized I actually could sing a little bit better. When I was in middle school I started singing national anthems and then I would sing at beach bars and restaurants and weddings. That was kind of my early start into professional singing. Then, when I got to college, I started songwriting and turned into the artist that I am now, but I’ve always been making some sort of noise.
You knew from the very start! On your EP, you share a lot of really beautiful narrative songs, and I’m wondering about your creative process. When does it become clear to you which of your stories needs to become a song?
I do write a lot of narrative songs. That’s what I love. I always write lyrics first. Usually, it’s just a dump, like a poem, that comes out. Sometimes [it’s] not even a really good and properly formatted poem, but then I kind of piece that together and turn it into a song, or I bring it to somebody that I really trust to help me bring the story to life, and together we turn it into the song.
I started with my creative process after I took a songwriting class when I first moved to Nashville with this amazing professor at Vanderbilt, Deanna Walker. She made the point that good lyrics should be able to stand on their own. The best songs can make you feel something from just reading. It really stuck with me.
That question of knowing which stories ultimately make it into song — I ask myself that same question all the time. Because sometimes I think, “Oh, I’m gonna write a song about that.” Then I sit and I try to conjure up something and nothing comes, or nothing that I feel is worth putting out into the world. But I don’t like to push things in my songwriting. Sometimes, if I just have a word, or I just have a phrase, or maybe a few lines about a story, I will leave it and wait. Because, six months later, something else has happened. I begin to process whatever that moment was a little bit differently, and all of a sudden, it just begins to flow.
I really like to write songs that make somebody really feel something or see themselves in a certain way or something that has a kind of unique twist, even if it’s a love song or a breakup song. Sometimes I have to wait until I can find that perspective in an everyday moment before it turns into a song.
You do that so beautifully! I’d like to ask more about those collaborators you mentioned—can you tell me a bit about your work with the Black Opry and how you became involved?
I was in Pigeon Forge, actually, to play a show at the Listening Room there with a friend of mine named Bonner. I think there were only like five people there, so we were kind of down in the dumps a bit. But I posted, “We’re here in Pigeon Forge,” and Holly G of the Black Opry, who I’d never met in person, messaged me on Instagram. She said they were having a Black Opry show at Dollywood, and we should come by after our show. We went and caught the last song of the show. [Afterward] everyone was hanging at the hotel and I got to meet Holly G, Tanner D, Aaron Vance, Roberta Lea, Crys Matthews, Virginia Prater, who is my booking agent now — a lot of the people that became part of my family. We all hung out in this hotel room, passing around a guitar, singing songs.
I just immediately felt so comfortable and at home. These people felt like my cousins! I told Holly, “Look, I would love to be involved with Black Opry. I’m single, I have no responsibility right now, just put me on the road! I will play any show, any place, any time.” She put me on a few Black Opry runs; before those runs were happening I was thinking that I was done in Nashville. I wasn’t feeling like my career was moving forward. I really felt kind of lost, creatively. I hadn’t yet found those creative collaborators. And when I did that first Black Opry run, everything just clicked and I knew I needed to be a part of it because it just felt like magic.
Wow, it sounds like your whole world expanded. Is there any advice you would give to aspiring Black artists looking to break into the country music scene?
I think my advice would be that it’s hard to do this alone. It can feel like you’re on an island. But it’s so much easier to do this work when you have other people around you that really support and uplift you. Reach out to the Black Opry, or the NSAI chapter near you. Set aside some of that energy that you’re putting towards your own individual projects into building community — even if that’s an online community at first. That’s how I met a lot of people during COVID time and after the murder of George Floyd, that’s when so many Black artists were coming out.
It just makes it so much easier to be in spaces where there are people around you who just get it, and who really believe in you and care for you and support you. Why build a car that only one person can get into and make it just a few miles down the road? Why don’t we instead all build a bus together that has space for everyone and we can all get there together? It’s just so much more fulfilling and honestly so much more fun.
What a beautiful metaphor, thank you for sharing that. Speaking of communal support and inspiration, you’re being featured as “One to Watch,” but do you have any ones you’re watching? Who is inspiring you these days?
I have this Spotify playlist called “Big Blue House and Her Sisters” of songs that feel like musical sisters of “Big Blue House.” There are a lot of artists on there that really inspire me. I would also say Denitia, a Black Opry artist who was named CMT Equal Access Artist — an incredible singer, songwriter, producer — just a powerhouse. We met at a Black Opry show in September and have become best friends. Also, you can’t be following what’s happening in Black music and queer music right now and not know the force that is Autumn Nicholas. Their performance at Love Rising had everyone in that room, thousands of people including myself, in tears. Lastly, Raye Zaragoza is an amazing Asian, Indigenous, and Latinx artist. I had the honor of meeting her on the Cayamo Cruise. She has been such an inspiration to me as a songwriter in the ways that she incorporates all of her identity into everything she makes, and her songs have such resonance and power that really make you feel. There’s no way you can listen to her songs and not feel moved and inspired by them, which is everything I’m trying to do in my songwriting, and I think she does it flawlessly.
Artist:JD Graham Hometown: Yukon, Oklahoma Song: “West Virginia” Album:A Pound Of Rust Release Date: June 23, 2023
In Their Words: “Growing up in rural Oklahoma, I was surrounded by all things oil field. I used to watch my friends roughneckin’ the rigs before they were old enough to buy smokes. By the the time they were 18, they were chasin’ money and workin’ 80 hours a week or more. The relationships they had with friends and lovers took a back seat. Years later the regret set in and they started to look back at what they missed. The character in this song wants another chance at the love he left behind and wonders if she has moved on.” – JD Graham
Hometown: Milwaukee, Wisconsin Song: “The Fool” (Live from Cash Cabin) Album:Siren Songs Release Date: April 21, 2023 Label: Grand Phony (US) / Rootsy (EU)
In Their Words: “Joseph Cash filmed and photographed us throughout the sessions for Siren Songs, which was recorded at the historic Cash Cabin. From Merle to Snoop Dogg to Dolly Parton, this sacred space has had many visitors and I hoped to tap into some of that DNA they left behind. ‘The Fool’ is the first song I wrote in an open D tuning. I stumbled upon it while toying with an Irish folk song during lockdown, finding that it offered a whole new canvas to write songs from. It produced a full and vibrant sound in my lap that guided me through writing this record. As I figured out the new shapes up and down the neck of the guitar, I wrote lyrics for ‘The Fool’ from the perspective of a sage, old romantic who’s giving advice to a younger version of himself.” – Trapper Schoepp
Artist:Rachel Maxann Hometown: Memphis, Tennessee Latest Album: Black Fae Personal nicknames (or rejected band names): Fickle Hellcat, I ended up making it my last album name instead.
What rituals do you have, either in the studio or before a show?
I absolutely adore my producer and although this isn’t necessarily a ritual, we tend to fall into a pattern when recording. We sit and talk about our lives for a while and generally catch up as friends while I sit in his massage chair. Sometimes I’ll have a glass of wine while he drinks his favorite new cocktail concoction. Then we’ll dim the lights in his studio and we’ll proceed to record whatever we want to work on that day. I’m excited for the next round of songs that we do! I don’t think it would be the same result if we didn’t have such a good friendship.
What has been the best advice you’ve received in your career so far?
Putting my own name on my music first and foremost. I’ve had a fairly long career with many different formats, some of those being bands. In the past, I would be insistent in creating a new band every time I got new players. An old friend gave me the advice of putting my name out there first, because while different players come and go I’ll always have myself and my songs. It really changed the way I presented myself.
Which elements of nature do you spend the most time with and how do those impact your work?
Wood and the water have a profound effect on my mental health. The album cover of Black Fae is actually at my favorite park in Memphis that is close to my house. On good weather days, I’ll take a run or walk with my dog and just enjoy the shady greenery. Though I love water in all its forms, I feel most relaxed at the beach, and if the ocean is not available I spend time by the lake. “Remember the Stars”was written on a month-long solo trip with my dog in Mexico. Every day I would pack my guitar, a book, and my notebook and sit by the beach and just be.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
I would love to pair my music with comfort foods. The lyrics have a lot of difficult topics and emotions, I would want the listener to be in a warm, safe space in case they are triggered by any of the songs. I have a history as a therapist, and whenever I had a client face an especially difficult feeling I would encourage them to have their loved ones nearby as well as their favorite comfort items. It can ease someone in and out of the process. If it were for myself, I would pick up a vegan oxtail meal from my favorite local Memphis chef, Camri McNary AKA The Vegan Goddess.
How often do you hide behind a character in a song or use “you” when it’s actually “me”?
I wouldn’t describe it as hiding behind it, but rather morphing my experience into a way that is more relatable to the listener. In some cases in the process of writing the song, it becomes more of a message to others rather than about myself, because often what I’m writing about is universal experiences even though they’re deeply personal. With “Last Cut”I first wrote it when I was in a dark place and having suicidal ideations. Shortly after having completed the original version, I lost a friend to an overdose which shifted my focus from my own grief to those of my friends and his family. When I sang it later, it naturally evolved into a story of my sadness into a message of awareness as well as encouragement to those that may be having similar feelings.
Welcome to OUT NOW! We are so excited to bring you the latest LGBTQ+ folk, roots, bluegrass, country, Americana, and indie songwriters, artists, and musicians. Who am I to guide you through the queer music industry? My name is Sara Gougeon. I founded and run Queerfest, which supports LGBTQ+ music by hosting monthly showcases and an annual festival in Nashville, promoting queer-identifying artists and creating spaces for our community. In 2022 Queerfest was named “Best New Music Festival” by The Nashville Scene.
This column is designed to amplify the voices of queer songwriters, musicians, and industry leaders. I am so excited to share just how talented, creative, and supportive the queer music industry is. We are delighted that the release of this column aligns with Pride Month, but we are even more excited to support LGBTQ+ music consistently year-round, beyond just the month of June.
Our first artist is one that I am proud to have known for years, and I can write with undeniable confidence that their music is at the start of a career filled with national tours, stunning releases, and larger followings sure to come.
I met the amazing Jobi Riccio in college when we were students at Berklee College of Music in Boston. They’ve come a long way since then: a record deal with Yep Roc, touring, and the move to Nashville. But I knew from day one that their music was exceptional. It is always a complete honor to promote incredible queer music.
Jobi’s carefully crafted lyrics turn songs into movies. Melodies blend with smooth vocals, and mournful fiddle solos lift between lines. It’s the kind of music I catch myself playing for hours before noticing that I’ve fallen so deeply for a few songs that I could listen to them on repeat forever.
And with that, I am deeply proud to present OUT NOW: Jobi Riccio.
BGS: What would a “perfect day” look like for you?
Jobi Riccio: A day spent primarily outside in the sun with those I love that ends playing songs in a living room or around a fire is really hard to beat. I also love being alone exploring nature and any day I spend hiking, biking, kayaking or doing any outdoor activity completely alone is always perfect and healing.
Why do you create music? What’s more satisfying to you, the process or the outcome?
It depends on the day. I love performing just as much as I love songwriting and I view both as a very gratifying way to connect with myself and other people.
Do you create music primarily for yourself or for others?
I honestly don’t know. I create music when I’m feeling something big and feel I need to or have the ability to express it. I’m not sure if it’s completely honest to say I write entirely for myself because sometimes those big feelings I’m experiencing stem from a desire to connect with others.
Rufus Wainwright, Aaron Lee Tasjan, and Caroline Rose all come to mind as LGBTQ+ artists I’ve had in heavy rotation, but also those I’m lucky enough to consider friends: Liv Greene, Erin Rae, Brennan Wedl, Brittany Ann Tranbaugh, Palmyra, and Olivia Barton are all queer artists/bands I’m very inspired by.
Is “Green Flash ” based on real feelings/experiences?
I started “Green Flash” during late spring of 2020, when I moved back home with my mom in Colorado. Lots of these existential crisis-y type thoughts were swirling in my head throughout my senior year of college, and the onset of the pandemic just sent them into overdrive. Most musicians have a fantasy of quitting music at some point and leading a “simple life” and I was caught up in that idea as I had nowhere to play and no hope of touring in the future. Sometimes I find my songs function similar to journal entries — questions I ask myself or little prayers out into the universe — and I think “Green Flash ” functions that way.
One of the main lines in Green Flash is “I’m still learning how to trust a heart.” How do you find a balance between being open to love/vulnerability/life and not getting your heart hurt?
I love this question, I ask myself it almost everyday. More and more I’ve learned to push myself to be vulnerable and honest even when it’s scary because I might be hurt, because it’s the key to real connection with others and is where the true beauty in life lies. Learning how to be authentically myself has a lot to do with learning to trust my heart and myself, and it’s very much a daily practice. All and all, I’d rather be hurt than live in fear of being hurt.
What are your release and touring plans for the next year?
I am releasing my debut record, Whiplash, on September 8 and I’m extremely excited to get this body of work into the world. I’ll be touring around the record this year and next!
Photo of Jobi Riccio: Monica Murray
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