This time on Basic Folk, we are checking in with country singer-songwriter and Color Me Country radio host Rissi Palmer and Americana/country artist Miko Marks. The two close friends both came up as Black women in country music in the early part of the 21st century where they experienced gatekeepers and discrimination in the industry, but undeniable love from listeners. Both stepped away from music for several years, but have since come back and found their audiences, artistic grooves, and industry independence. We last spoke with the pair in 2023 (you gotta go listen to that convo if you missed it!) and we have wanted them back on ever since!
Rissi and Miko dive into who they think is making waves and positive change in country and Americana. We talk about rising pop-country singer Tanner Adell and her 2023 hit “Buckle Bunny,” a song that’s clearly written for a different kind of country music fan (read: young Black women). Rissi mentions having Mississippi country sensation KIRBY on her show recently and promises her Miss Black America to be a monster of an album. There was a lot of consensus on the podcast that Madeline Edwards has released the best album of 2025 with her record Fruit, where she digs into the extreme grief and extreme joy she experienced after her brother passed away.
Elsewhere, we also touch on the pair’s experiences at Rhiannon Giddens’ inaugural Biscuits & Banjos fest in Durham earlier this year, an event dedicated to reclamation and exploration of Black music. We talk about Alice Randall’s new compilation, My Black Country – The Songs of Alice Randall, a collection of Randall compositions recorded by Black women – including selections performed by both Miko and Rissi. We talk about audiences in London versus the US, a contrast BF co-host Lizzie as well as Rissi and Miko have experienced first hand. In fact, Rissi has been curating a Color Me Country stage at The Long Road Festival in Leicestershire, England, for the past four years. We hope you learn something new, get some insight into what’s happening in Americana for musicians who are Black, and gain some joy from listening to Rissi and Miko’s hilarious banter.
Fresh off two back-to-back GRAMMY-winning albums, guitar virtuoso, songwriter, and artist Molly Tuttle is heading in bold new directions with her fifth solo release, So Long Little Miss Sunshine. A California native now based in Nashville, Tuttle embodies many sides of herself while staying rooted in where she comes from – both musically and geographically.
Already highly decorated as an instrumentalist (including two International Bluegrass Music Association awards for Guitar Player of the Year and the Americana Music Association’s Instrumentalist of the Year), Tuttle continues to captivate with her signature tone while stretching the boundaries of the genre that launched her. And she does it all with reverence and a playful sense of self-exploration.
From the scorching opener “Everything Burns” to the crush-worthy pop bop “That’s Gonna Leave a Mark” (co-written with Better Than Ezra frontman Kevin Griffin), the album weaves together personal reflections and observations of the world around her. It’s a colorful puzzle that reveals the many pieces of Tuttle.
When BGS sat down with her to discuss the album via Zoom, it was clear that her boundless curiosity about life and what’s next musically fuels everything she does. She spoke about her songwriting process, her reverence for her roots, the inspiration behind the album’s visual aesthetic, and how she’s already working on her next project.
You’ve called this record a departure, but to me it also feels like a distillation of all the people you’ve been, all the places you’ve gone, and all of who you are. Even though you’re experimenting with different genres, it feels cohesive—like you’re telling a story about yourself over a really diverse musical bed. Almost as diverse as the wigs on the cover of the record. Was there a lightbulb moment when this project came to life for you, or was it more of a gradual process?
Molly Tuttle: It was kind of a gradual idea. About a year ago, I was finishing the songs for this record. The first one I wrote was “Golden State of Mind,” a few years back, but for a long time, I just had this big batch of songs that didn’t feel like a cohesive grouping. Then last year, there was a light bulb moment where suddenly the songs really started flowing again, and it felt like I’d found this new voice – though it still connected to earlier songs like “Golden State of Mind” and “Everything Burns.” I reworked those older ones and then wrote about two-thirds of the record in the last year.
Making Crooked Tree and City of Gold helped me gain the confidence to do something different this time and not feel tethered to any particular style or genre. Those bluegrass records were me paying tribute to the music I grew up with, and once I did that, I felt free to branch out—try something bold and ambitious sonically while still tying it back to where I came from. I wanted to tie it to my past work but also really spring forward and try something new.
Did you have any trepidation about that shift?
I wasn’t really nervous, but we did have a lot of conversations about it – mainly between me and Jay Joyce, who produced the record. He first saw me play at the Ryman with Golden Highway, which was a bluegrass show, though we always stretched the boundaries a bit. The next day, he called me and said, “I think we should still incorporate your banjo playing and some acoustic elements.” That’s when we brought in Ketch [Secor] to play fiddle, banjo, and mandolin.
We wanted to make sure it didn’t feel like too far of a departure and that it still sounded like me. So we decided to make this a guitar record. Every song has guitar solos and I’m the only soloist on the album. That was new for me, and really exciting.
How did you end up working with Jay? Did you seek him out? Were you a fan of his work?
I actually wasn’t super familiar with him at first. I’d heard music he’d produced, but hadn’t connected it to him by name. During the pandemic, my manager, Ken Levitan, suggested I meet with Jay. Ken thought we’d work well together since Jay’s not only a producer, but also a great guitarist.
I played him some songs and liked his vibe, but at the time, I felt pulled to make Crooked Tree because I had those songs ready to go. Still, I always kept Jay in the back of my mind and really wanted to work with him eventually. Last year it fell into place: I sent him my new songs, we met again, and then started pre-production in the fall. I’m glad that I’d had that rapport with him for the last few years rather than just meeting him when we started making the record.
What was the studio experience like? Did it feel different from your past records?
Very different. We spent so much time on pre-production – more than I ever had before. We worked on arrangements, added solos, and rewrote bridges. By the time we brought in the band for a week of tracking, we already had these really fleshed-out demos. I’d played and sung a lot of my parts. Jay had been programming and I think Ketch had even played some of his parts already. We had a ton of tracks ready to go when we went into record.
Some of my demo takes even made it onto the final record, because I was just so relaxed, not feeling the pressure of having a set number of days to get it all done.
Much of this album was co-written with your partner, Ketch. What does writing with someone who knows you so well unlock for you?
Over time, we’ve developed a shared voice that feels like both of us. Earlier songs sometimes sounded more like his voice or mine, but now it feels like ours. He sees my daily life, so he can suggest ideas I might not have thought of, and that keeps the process flowing and honest.
Are you approaching the tour for this record differently than past tours?
It is going to be a little different. We’ve got some amazing special guests and openers joining us, and I’m excited to collaborate with them onstage.
The band is also super versatile: Ellen Angelico plays pedal steel, Dobro, banjo, and more, and Mary Meyer plays fiddle, mandolin, keys, and guitar. That range allows us to move between full-on rock moments and stripped-down acoustic sets, which fits perfectly with the mix of songs from this new record and my older ones.
The visual aesthetics of this record are striking. How did you land on the album cover concept?
Honestly, I didn’t have an idea at first. I was brainstorming on Pinterest and even asked a friend to pull tarot cards about it. She told me, “I think you already know the cover in your mind – you just need to uncover it.” Around that time, my friend Fletcher Moore sent me this grid of women with different hairstyles, and I was also looking at Let It Be by the Beatles. I thought, “What if I did something like that?”
This is the first time I’ve appeared without a wig on an album cover. I’ve worn wigs on all my past covers, but I wanted this one to feel more personal, like, “Hey, this is the real me.” At the same time, wigs are still a part of who I am. I wear them often, sometimes multiple in a day if I’m going to different things. What once felt like a source of insecurity when I was a kid now feels like a source of creativity.
So that inspired the cover, along with my song “Old Me, New Wig.” We had fun tying different hairstyles to songs – like a hippie look for “Summer of Love,” a goth look for “The Arsonist,” and even a Dolly Parton-inspired one. It was really fun but at the same time, I’m always nervous. I don’t want to distract from the music by making it all about the hair, but I like to have fun and experiment with it. It is something that feels unique to who I am.
That’s amazing. What inspired you musically and otherwise while making this record?
Playing with people like Sheryl Crow and Dave Matthews over the past few years has been hugely inspiring. I think you can hear echoes of artists like them.
As for books, I love California literature and that ends up inspiring some of the songs on the record. Angle of Repose [by Wallace Stegner] inspired some of this record and City of Gold. Joan Didion is another big one for me – her writing about California is just gorgeous.
You’re clearly prolific. Are you already working on what’s next?
After I finish a record, I usually take a little break from writing, just to focus on preparing the new music for live shows. But now I’m back at it – I’ve got about two-thirds of another record written already. I love being in the studio and I’m always chasing that feeling of making an even better record than the last. Touring slows down my writing a bit, but when I’m home, I’m already dreaming about what’s next.
Last question: from what I can tell, some fans feel a sense of ownership over your bluegrass identity. How has the reaction been to this new music?
Mostly supportive and loving, especially when I play the songs live. But yeah, when I released the first single, “That’s Gonna Leave a Mark,” probably the poppiest track on the record, some people online were like, “Oh my God, Taylor Swift!”
And it is not like I am never playing bluegrass again. Our shows are still half, if not more, bluegrass! I’ve stopped looking at online comments, because it’s not a real snapshot of what people are thinking and feeling.
But this is what I wanted to do. I wanted to shake things up. I feel like this record is full of little surprises. And if people are talking, that means they are paying attention. It means they care. If nobody said anything, I would be worried.
Author and artist Jenny Odell begins her impeccable book, How to Do Nothing, immediately driving to the heart of the matter:
Nothing is harder to do than nothing. In a world where our value is determined by our productivity, many of us find our every last minute captured, optimized, or appropriated as a financial resource by the technologies we use daily.
The book is a striking, heartfelt argument for a realignment of societal and personal priorities that decenters social media, the “attention economy,” and the ways each of our individual “rat races” have now penetrated every aspect of our own lives and our each and every waking moment. In Chapter 1, “The Case for Nothing,” Odell continues,
Currently, I see a similar battle playing out for our time, a colonization of the self by capitalist ideas of productivity and efficiency. … The removal of economic security for working people dissolves those boundaries – eight hours for work, eight hours for rest, eight hours for what we will – so that we are left with twenty-four potentially monetizable hours that are sometimes not even restricted to time zones or our sleep cycles.
These paradigms of and assumptions about “productivity” immediately jumped into my mind when I first heard singer-songwriter Caroline Spence’s lovely new album, Heart Go Wild. Released August 29, it marks Spence’s return to independently releasing music – on her own terms and retaining ownership of her own intellectual property (and the productivity that birthed it).
Over 12 original tracks, Spence is meditative and introspective, angry and tender, grateful and underappreciated, clamoring for justice and toying with the idea of giving up. There’s self-cajoling and there’s self-acceptance. There are aspirations, too, but the undercurrent of this collection isn’t ambition or climbing Music Row ladders or seeking any sort of superlative recognition. More than perhaps any of her other delicious albums – which also carry through many of these same themes – Heart Go Wild seems to be an exercise in songcraft, music-making, and album production that’s more in the vein of “doing nothing” than “doing everything, for everyone, 100% of the time.”
So, while these songs will surely elicit tears, spur daydreams, trigger longing, and untether dozens of emotions, overall they feel like one long, therapeutic sigh. A “deep breath out” to purge years of being underestimated or overlooked or underserved by record label execs, an exhale to eliminate any traces of ambition only for ambition’s sake, and to say goodbye – once and for all – to making art in order to meet the expectations (or profit margin targets) of others.
Since Spence’s most recent prior album, 2022’s True North, the shape of her professional life and network isn’t the only way her day-to-day has changed. She married her life partner, together they started a family, and the rocky relationship she had with the music business and its executives was just one facet of many in a deep self-searching and realignment of her musical and artistic priorities.
You can hear this shift in – or perhaps, recovery of – her values system in each of these songs. Spence has learned that “doing nothing,” that is, working outside of the machinations of the music industry, has always been her preferred method. And, just as she tends her bulbs, wildflowers, and hydrangeas, rain by rain, day by day, season by season, she now brings the same sort intention to her entire music-making process.
Odell continues in How to Do Nothing, “Our very idea of productivity is premised on the idea of producing something new, whereas we do not tend to see maintenance and care as productive in the same way.”
These songs – whether “Confront It,” “The Sound of You,” “Soft Animal,” “Dried Flowers, Old Habits,” and many others on the LP – indicate a deep, in-her-bones understanding that maintenance, stillness, rejuvenation, and feeding one’s soul – and the souls of your loved ones – is always productivity. Does it pad the pockets of suits in Nashville board rooms? Certainly not. Can it birth one of the best albums of the year? It does seem so!
Heart Go Wild is full of redemption – and the labors required to bring about a “blank slate,” a fresh starting point, and a re-solidified foundation. It may not feel like a totally new turn for diehard Spence fans (either sonically or textually), but there is still a palpable sense of the dust being shaken off and a new and endless creative horizon coming into view – tempting, tantalizing, and ready for Spence to gallop off toward.
As often as these songs are sad and self-challenging they are bold and dripping with agency. There are many moments of looking back and asking, “Why? How?” and “Did it need to end up this way?” Which are that much more impactful alongside their counterparts that say, “I know who I am,” “I know where I’m going,” and “I know who I’m bringing with me.”
Heart Go Wild places at its center – first and foremost – the loved ones Spence will elect for her songwriting and album-producing “board room” in her mind: her loving husband, their child, her family, her friends and peers, and her endlessly faithful rescue dog, Roxy. Spence is looking forward, utilizing the clarity she did gain from looking back to establish a new sort of workflow.
Externally defined productivity clearly won’t have the power over this critically acclaimed and musician-and-artist-beloved singer-songwriter anymore. (Though this writer is skeptical it ever truly did have that power to begin with.) Spence, like many of us, has spent the last few years, especially post-COVID and in the midst of growing her family, to learn how to constructively do nothing.
Now, with this stunning set of songs, she’s passing along those lessons to us. And, as we’ve already established, this kind of nothing isn’t nothing at all, no matter how hard it is to do. This kind of doing nothing is doing everything.
Caroline Spence is our Artist of the Month! Check out our Essential Caroline Spence playlist below and stay tuned as we share content on Spence, her music, and her songwriting throughout the month. We also have a very special “in conversation” interview feature with Spence and Lori McKenna. Follow on social media, too, as we dip back into the BGS archives for all things Caroline Spence all month long.
I seriously love sad songs and it’s honestly so hard to keep this Mixtape short. Every time I think I’m done, I remember another song that deserves a spot. Some songs are perfect for those late-night lonely vibes, while others hit harder on a rainy day. I just think sad music has this special kind of beauty that happy songs can’t match. It’s dramatic, emotional, and somehow comforting at the same time.
Honestly, this Mixtape feels more like a mood diary than just a list of songs. Even now, I know I’ve left off some that should be here which means I’ll probably end up making a “Part 2.” At this point I might as well admit I’m the CEO of sad playlists. But hey – you can never really have too many sad songs, right? – Jaelee Roberts
“Desperado” – The Eagles
“Desperado” is a song that has grabbed me by my heart strings for my whole life. The melody alone just has that sad and lonesome feel that I love so much. A line in the lyrics that always jumps out at me is, “You better let somebody love you before it’s too late.” That grabs my heart in the best way.
“Marie” – Blue Moon Rising
The first time I heard this song it stopped me in my tracks. The way Keith Garrett sings it is absolutely the epitome of lonesome. The song is about a man struggling his entire life to make ends meet and finally he gets a glimpse of happiness through a woman he meets, Marie, and she and their unborn baby pass away. Townes Van Zandt’s lyrics paint a heartbreaking picture of poverty and loss.
“He Stopped Loving Her Today” – George Jones
George Jones is my all-time favorite and this is an obvious choice, but such an important one! This song has often been called “the saddest country song of all time” and I might just have to agree with that. A short explanation is that a man lost the love of his life and he was never able to get over her until he passed away – that’s when he finally stopped loving her. That is absolutely gut-wrenching, but I am obsessed with the song and love it so much.
“I’m So Lonesome I Could Cry” – Hank Williams
I am a huge Hank Williams fan and I have always listened to this song when feeling sad. The way his voice almost cries when he sings it just gets me in my heart and feelings every time I hear it. I am a bit of a country music history nerd and I study a lot about the lives of my heroes and learning about him and this song – the lyrics are so sad and hit even harder when you get into the story behind writing the song. He wrote it after he and his wife Audrey split up amongst his struggles with addiction… it’s heartbreaking.
“Are You Lonesome Tonight” – Elvis Presley
I have loved this song since I was a little girl. Elvis was my first love and I can remember this song being one of the first songs to ever make my heart feel sad. I was just a little kid and thinking, “Oh my goodness, is he okay?” The cry and emotion in his voice is so tragically beautiful and it’s a go-to sad song when I need to hear one. The lyrics are so sad. When you hear his voice say, “…And if you won’t come back to me, they can bring the curtain down…” it breaks my heart every time.
“Lonesome Town” – Ricky Nelson
The first time I heard this song I was hooked. The melody, the lyrics, his hauntingly sad voice made my heart hurt in the way you want it to hurt when listening to a sad song. I really love this song!
“Both Sides Now” – Joni Mitchell
This song is filled with the most beautiful imagery. It’s about viewing love one way and then having your heart broken and seeing love a different way – seeing it “from both sides now.” It’s such a perfectly crafted song and Joni’s voice is so sad and raw on this track.
“Let Me Be Lonely” – Jaelee Roberts
When I first heard this song I knew I had to record it. If you can’t tell, sad songs are my absolute favorite songs and this one hit me hard. I am so honored I got to sing this one. I love the way that it all came together with the way the fiddle sounds so sad and then accompanied by the crying steel guitar (my favorite sound in the world). I love the harmonies that the writers of this song, Kelsi Harrigill and Wyatt McCubbin added. It just completed the lonesome feeling. My favorite lyric in the song is the opening line: “Don’t come knockin’ on the door/ That smile’s not welcome here anymore.”
“Chasing Cars” – Snow Patrol
I actually first heard this song during a heartbreaking scene of one of my favorite TV shows and I remember feeling so sad. Every time I hear this song I feel like I’m in a sad music video. Lyrically, the song is just so great. I love the chorus when it comes in strong and says, “If I lay here, if I just lay here, would you lie with me and just forget the world?”
“Manhattan” – Sara Bareilles
I am a huge Sara Bareilles fan and this song has always had a hold on me. It’s one of the first songs that made me want to play piano. Her voice and the piano work together to make such a beautifully sad song. The song is about finding love, sharing their lives together in Manhattan, and letting that other person have that special place when the relationship ends. The way it’s written is just genius, really.
“Weekend In New England” – Barry Manilow
The melody of this song is what first caught my ear’s attention and then Barry starts singing and it’s just so beautiful. I have loved this song since I was just a young girl and have always listened to it when I feel sad. It’s just a classic sad song and you cannot go wrong with listening to it over and over.
“Heartbreaker” – Dolly Parton
I can still remember sitting in the backseat of our car in the driveway at home – small enough that I wasn’t allowed in the front seat yet. My mom would turn on WSM and we’d sit there together listening to the Grand Ole Opry until it was over. I’ll never forget one night when Little Jimmy Dickens had just finished his segment and the Opry signed off. The DJ came on playing music and that’s when it happened – Dolly Parton’s “Heartbreaker” came on. In that moment, my world stood still. I had never felt so heartbreakingly sad from a song, yet so completely happy at the same time. It was the first time music truly hit me that hard and it’s stayed with me ever since. “Heartbreaker, couldn’t you be just a little more kind to me?” So, so good.
“Misery and Gin” – Merle Haggard
This is another song that I have loved as long as I can remember. The music and melody starts off and then you hear Merle’s voice come in singing, “Memories and drinks don’t mix too well/ Jukebox records don’t play those wedding bells…” What a perfectly sad scenario! Merle Haggard is one of my favorites and could sing anything and make it sound sad, which I love so, so very much. This song is so lonely, but so beautiful and the lyrics are everything a sad lonesome song should be.
“Cry In The Rain” – Jaelee Roberts
This song is so beautifully written. Penned by two incredible songwriters – Billy Droze and Chris Myers – it tells a sad story about being heartbroken over someone, but refusing to let them see your tears. Instead, you hide your pain and only let yourself cry in the rain. I really love this image – it’s sad, strong, and poetic all at once. To me, that’s what makes the song so special. I feel truly honored to have had the chance to record it and tell the story in my own voice.
“Between an Old Memory and Me” – Keith Whitley
Keith Whitley had a way of singing that made you feel every single word, as if he lived inside the stories he told in his songs. In this song especially, when he sings the line, “I don’t want to talk about it, why can’t they just let me be?” you can literally hear the raw desperation and aching sadness in the cry of his voice. It’s lonesome, it’s haunting, and it’s heartbreak wrapped in melody. I love this song with my whole heart – it’s everything I admire about Keith Whitley’s music.
Our new music and premiere roundup is ready and waiting for you, ’cause You Gotta Hear This!
Bluegrass gospel group Eighteen Mile from upstate South Carolina have released their very first single, “Above The Clouds” today. Dripping with rich harmony vocals, the track offers encouragement to anyone experiencing doubt, anxiety, and pain. Supergroup neo-folk assemblage Geckøs – featuring Howe Gelb, Mark McCausland (AKA McKowski), and M. Ward – dropped a new single earlier this week, as well. “Lo Hice” started as an instrumental number, but morphed and changed when it reached the group, ending up as one of their favorite tracks on the upcoming album.
Guitar greats Larry Keel and Jon Stickley have joined forces on a new project; their self-titled EP will be available in just a week. To mark the occasion, we’ve got a sneak preview of one of the tracks from that collection, “Take the Air,” featuring just two guitars in an exciting and engaging instrumental dialogue. Singer-songwriter – and Sister Sadie band member – Jaelee Roberts has released her brand new solo album today, sharing its title track below. “Let Me Be Lonely” was written by Kelsi Harrigill (formerly of Flatt Lonesome) and hit country writer Wyatt McCubbin and it showcases Roberts’ love of traditional country sounds.
Don’t miss another country sensation, Gwen Levey, too, who shares a brand new music video for “Lighter,” the title track from her upcoming EP that is another excellent anthem for survivors of systems of violence. Beginning with subdued solo guitar and voice, the song soars into crisp modern country that will certainly have you feeling… lighter.
It’s all right here on BGS and You Gotta Hear This!
Eighteen Mile, “Above The Clouds”
Artist:Eighteen Mile Hometown: Upstate South Carolina Song: “Above The Clouds” Release Date: August 29, 2025
In Their Words: “I wrote ‘Above The Clouds’ during a season when I was wrestling with uncertainty and learning to trust God more deeply. The song became a reminder to myself that no matter what we face – doubt, anxiety, or pain – God is steady and present above it all. I wanted the music to feel hopeful, something that lifts listeners up and reminds them that the sun still shines above every storm.” – Hallie Ritter
“We hope this song is an encouragement to listeners in all areas of life who may be dealing with clouds of doubt, pain, and anxieties. The sun will always shine above the clouds.” – Eighteen Mile
Track Credits: Hallie Ritter – Upright bass, lead vocal, songwriter Carson Aaron – Acoustic guitar, mandolin, harmony vocal Emily Guy – Harmony vocal Jack Ritter – Acoustic guitar Savannah Aaron – Fiddle Andy Leftwich – Mandolin
Geckøs, “Lo Hice”
Artist:Geckøs Hometown: Tucson, Arizona; Portland, Oregon; and Omagh, Ireland Song: “Lo Hice” Album:Geckøs Release Date: August 26, 2025 (single); September 26, 2025 (album) Label: Org Music and PIAPTK Records
In Their Words: “‘Lo Hice’ is a song that started off in Ireland as an instrumental track. The bare bones was written specifically with Matt in mind to see if it perked his ears enough to finish it off. He picked it up and breathed brand new life into it. The song came alive with his voice and slide guitar and his Spanish lyrics took it to a whole new world. One of the beautiful things about Geckøs is I’m slowly learning how to speak the Spanish tongue, or at least I know how to say things like, ‘It’s fucking hot outside.’ We finished the song together in Bristol with John Parish driving the ship, and the puzzle was complete. It’s become one of my favourite tracks on the album. Definitely in the top eleven.” – Mark McCausland (AKA McKowski)
Larry Keel and Jon Stickley, “Take the Air”
Artist:Larry Keel and Jon Stickley Hometown: Lexington, Virignia (Larry); Asheville, North Carolina (Jon) Song: “Take the Air” Album:Larry Keel and Jon Stickley (EP) Release Date: September 5, 2025
In Their Words: “‘Take the Air’ is one of those musical ideas that came to me like a gift. It’s based on a happy riff that I would play every time I picked up my guitar during the height of COVID lockdown. It was such a time of stress and anxiety, yet I also experienced so much connection with the world around me. When life slowed down, the planes stopped flying overhead, and the wheels of the world stopped turning, suddenly everything in the natural world felt so much more alive. I posted a short video of myself playing it one day and got a text from Larry shortly after saying, ‘Hey man, let’s do some duo shows someday.’ It took about four years, but we’re finally making it happen. The arrangement of this tune purposely leaves some space to take a breath. I hope listeners find it as uplifting as I do.” – Jon Stickley
Track Credits: Larry Keel – 2008 Andrew White handcrafted parlor style guitar Jon Stickley – Preston Thompson D-EIA acoustic guitar
Gwen Levey, “Lighter”
Artist:Gwen Levey and The Breakdown Hometown: Nashville, Tennessee Song: “Lighter” Album:LIGHTER Release Date: August 29, 2025 (single); October 24, 2025 (EP) Label: GAL Productions
In Their Words: “If my previous EP, Not The Girl Next Door, was about all of the toxicity I was experiencing the first few decades of my life, ‘Lighter’ is about shedding all that sh*t and stepping into my healing era. The EP represents the light I’ve been able to find to carry me through some very dark days. The two-and-a-half minute song is an upbeat anthem as a survivor of not only an eating disorder, but of overcoming abuse and life’s tribulations, and my hope in writing it is that other survivors will also feel empowered.
“Being a survivor has given me the voice I have today. I co-founded Rise Above Justice Movement, a coalition of survivors impacted by systems of violence. The theme song for RAJM is ‘Barefoot & Pregnant,’ my viral pro-choice country anthem that has amassed over 20 million views, won several awards, and will premiere on PBS this summer. To this day, RAJM has several notable followers, including Rosie O’Donnell, the founder of the MeToo movement Tarana Burke, Alanis Morissette, and many others. ‘Lighter’ will be another anthem for our survivor movement.” – Gwen Levey
Jaelee Roberts, “Let Me Be Lonely”
Artist:Jaelee Roberts Hometown: Nashville, Tennessee Song: “Let Me Be Lonely” Album:Let Me Be Lonely Release Date: August 29, 2025
In Their Words: “‘Let Me Be Lonely’ is one of my favorite songs on the album for sure! I am such a huge lover of classic/traditional country music and there isn’t a day that goes by that I don’t listen to it. I am beyond excited that I got to record a song that allowed me to give a nod to that sound. My friend and mentor, Kelsi Harrigill, sent me the demo of ‘Let Me Be Lonely’ that she wrote with hit country songwriter Wyatt McCubbin, and I knew before I’d even gotten halfway through the first listen that I absolutely had to put it on my album. As I’ve mentioned several times, I love sad songs with my whole heart, and this song has all the ingredients that make the perfect sad country song – lyrically and melodically. Kelsi and Wyatt joined me on this recording singing harmony vocals, which just topped it off for me. There is steel and fiddle on this track (which are my favorite instruments), and I sure hope that y’all enjoy my little tip of the hat to the trad country music that I love so much!” – Jaelee Roberts
Track Credits: Jaelee Roberts – Lead vocal Kelsi Harrigill – Harmony vocal Wyatt McCubbin – Harmony vocal Byron House – Bass Cody Kilby – Guitar Andy Leftwich – Mandolin Ron Block – Guitar Stuart Duncan – Fiddle Russ Pahl – Steel guitar John Gardner – Percussion
Photo Credit: Larry Keel and Jon Stickley by Lexi Simcic; Gwen Levey by Meaghan Campbell.
Maya de Vitry, Ethan Jodziewicz, Joel Timmons, and Shelby Means are on Basic Folk today talking about their new collaborations. Maya produced both Shelby and Joel’s debut solo albums this year; Joel and Ethan play in Maya’s band; and the two couples (Joel & Shelby are married and Ethan & Maya are partners) are all very close friends. They met in Nashville, where Maya & Ethan still live, while Joel & Shelby live in Charleston, South Carolina. Joel talks about the huge gesture Shelby made in leaving Nashville behind for his hometown of Charleston. He also talks about the elated feeling they both got when Shelby, who also used to tour with Della Mae, got the chance to play upright as a member of Molly Tuttle & Golden Highway.
Big themes of this friend group include trust, lifting each other up, and being one another’s “vibe coaches.” In our conversation we talk about choosing love, connecting with your music friends in non-musical ways, and, of course, the most epic hair in Americana: Joel Timmons and his mullet. The group shares insights on how they are still close and able to connect and spend time with each other despite the distance. Short flights and drives are worth it when you’ve got friends like this.
Photo Credit: Shelby Means by Hunter McRae Photography; Ethan Jodziewicz by Joel Timmons; Joel Timmons by Scott Simontacchi; Maya de Vitry by Kaitlyn Raitz.
“Let me look at your radar,” Ashley Monroe says, pulling out her phone. “I have all kinds of radar apps on here: 24-hour flight radar, storm trackers…” She types in my location. “Yep, it just popped up red,” she says, forebodingly.
We’re speaking over Zoom about her album Tennessee Lightning and, fittingly, a massive storm is rumbling through New York, with loud thunderclaps sending a jolt through our conversation. Monroe is calling from an apartment in West Nashville, which she rents as a creative space in a building shared by fellow musicians and friends Meg McRee, Ben Chapman, and Lukas Nelson. The weather in Nashville is calm for now, but there’s always the chance another tempest could be brewing.
“For a while there I was like, someone’s gotta get me a bunker. ASAP,” she says.
Tennessee Lightning is her sixth studio album (not including the four she’s released as part of supergroup Pistol Annies alongside Miranda Lambert and Angaleena Presley) and her first since 2021’s Rosegold. The latter found her sloughing off the classic country sounds that defined her early work and embracing trap beats and synthy pop moments. Shortly after the release of Rosegold, Monroe underwent treatment for a rare form of blood cancer, a life-altering experience that she’s still processing. Now in remission, she feels newly awash in creative inspiration, breaking the creative silence that immediately followed her diagnosis.
The resulting album, her second as co-producer with GRAMMY-winning producer and engineer Gena Johnson, is a sprawling, 17-song “patchwork quilt” of songs that range from gritty rockers to moony love songs to bracingly stripped-down piano ballads. It’s less story-song-heavy than her beloved early work, but Monroe says that the album – a mix of new and older originals, along with a few carefully chosen covers – is as personal and revealing as anything she’s ever recorded.
“With every song on this record, I feel and see my own personal story in it,” she says. “Maybe I just didn’t need to put the third parties in this time.”
The release of Tennessee Lightning dovetails with the tenth anniversary of The Blade, Monroe’s GRAMMY-nominated 2015 album, which she recently celebrated with an intimate show at The Basement East and it remains fresh on her mind. She spoke to Good Country about her rootsy new sound, whether it’s safe to call this her Americana turn, and how music helps her weather life’s most painful storms.
I’m curious about the title of the album. It’s interesting, because in many ways, this feels like a homecoming, but then it’s also quite different from your earlier music. How did Tennessee Lightning start coming together?
Ashley Monroe: There’s actually a song called “Tennessee Lightning” that I wrote with Shelby Lynne and Jedd Hughes. It’s awesome, but by the end we had over 25 songs and it wasn’t fitting the album anymore. And at that point, it’s almost like Tennessee Lightning had become me, in a way. It’s just a zap of like, “This is everything. Boom.” Gena Johnson is the co-producer and engineer on this record and a dear friend. The two of us loaded up a ton of gear a couple years ago and rented a cabin in East Tennessee. We went to my dad’s grave, we went to see my Granny and Poppy and drove the back roads in Tazewell, Tennessee. We just immersed ourselves in going back to the roots of it all.
We set up the studio there and she recorded me on the front porch, she recorded me in the yard. We started recording “I’m Gonna Run,” which is a song I wrote in 2004, on the same trip as I wrote “Satisfied” and “Used.” We started with that song, and I was really trying not to overthink anything. I was just letting whatever songs needed to come through, come through. I always say this album is like a patchwork quilt of my life, and that applies to my friends that I’ve asked to play on this record: T Bone Burnett, Butch Walker, Brendan Benson, Marty Stuart, Brittney Spencer, Karen Fairchild. I made a joke the other day, “I’ve called in so many favors, I’m going to have to make new friends to call it more favors.”
I think people may be tempted to call this your Americana record. How do you feel about that?
Great. I’ll take that. Americana has been good to me. A lot of Americana radio stations played “Hands on You” when no one else would, and a lot of other songs. So that’s good company.
Also, I’m from East Tennessee, so no one can really hear my voice and say that I’m not country. It’s just there in the accent and the tenor of it. It’s Appalachia. That’s why I think it’s cool to not do something obvious sometimes, to not cut yourself short or shave the edges off. “I’m Gonna Run” reminds me of when Emmylou did Wrecking Ball, just those weird things she did that I love so much. I’ll take Americana all day.
The sound of this record is quite varied as well.
I guess Tennessee Lightning has different types, but it’s all real musicians, it’s all organic. “Amen Love” I was writing with Ashley Ray and Summer Overstreet, whose dad wrote “Forever and Ever Amen.” We wrote the song for Miley Cyrus, and Ashley’s husband recorded the demo. The song ended up not getting cut, but it just kept haunting me. I always like to do a sexy one, like “Hands on You” and “Wild Love,” so I thought it made sense for the young love part of the record.
Then there’s just me and Marty Stuart and Shelby Lynne on “The Touch,” and that’s as country as anything I’ve done. Gena was really good at getting the raw edges and the breaths and everything. “There You Are” was recorded in one take. It’s just me and the piano. I never did it again in the studio, ever. And then there are other songs that are more polished or have different instrumentation, but Tennessee Lightning to me is like a flash of everything. It’s not just one part; it’s all parts.
I’m wondering if maybe not chasing the country radio thing anymore freed you to explore all these different sounds.
I’m sure it did, even though I will say every label I’ve been on – Columbia, then RCA, then Warner LA and Warner Nashville – I’ve been lucky to have label people who were great at the creative part. My first single was “Satisfied,” which didn’t work, but I love that they chose that. Cris Lacy at Warner was also great at helping me pick songs. I didn’t think anyone would like “Hands on You,” but she heard the work tape and convinced me to record it.
When I got dropped by Warner, I thought to myself, “Now I can do anything.” And it’s been fun to explore. Gena is good about feeling when the spirit is moving through. She knows I like to sing in the dark or with candles. We shut the blinds, and I get to sit in that zone, and she captures it. It’s emotional, it’s raw, and I like recording like that without having to think, “What’s the label gonna say?”
You’ve been called a critical darling pretty much throughout your career. With Rosegold, it seemed like the first time the response was more tentative – warmly received, but not quite as glowing from everyone, particularly the “real country” crowd. Did the response to that record influence your approach to this one?
I really didn’t think about that at all, so that’s interesting. Honestly, though, what I will do next is a honky-tonk record. I know my band, and I know exactly what I’m going to do, which is honky-tonk it to the depths. I haven’t done a live thing like that, and I like switching it up. In my mind, what makes a memorable artist, a true artist, is when everything doesn’t sound exactly the same. Tennessee Lightning just felt like, “What are you feeling? What is it?” It’s cool when art reflects what you’re going through at the time, and for me going back to my roots will always have that earthiness.
I’m thankful for all the great reviews and the “critical darling” thing means a lot, especially as someone who doesn’t win awards or get nominated or included, really, in any circle. I’m okay with that, in a way, because I have a certain confidence — I know I have a gift. I know some people will feel it and some people won’t, but no one can deny I’m doing what I was put on this earth to do. I don’t put too much value on what people think of me, especially now after what I’ve been through. I won’t lose sleep over what a critic thinks.
Another thing that came up with Rosegold was this idea of protecting your joy, of not wanting to feel sadness anymore. Tennessee Lightning has songs that are more cutting – “There You Are” almost feels like it could be on The Blade. It made me wonder if your relationship to your art and this idea of protecting your joy changed between this album and the last one.
You know, when I got pregnant was really the first time I thought, “I’ve got to be careful about what enters here.” That doesn’t mean being delusional or not knowing that things can happen, will happen. Of course, something can always come along and bring you to your knees. But it’s about knowing when everything’s okay and shining a light on it and letting it radiate for a little bit. Rosegold was about hyperfocusing on the good and just letting it beam out for a split second.
I don’t mind if music is sad. I kind of prefer it. With this one, there are some sweet love songs, but also not all these songs are new. “My Favorite Movie” was one Vince [Gill] and I wrote in 2015 around The Blade time. He had it on one of his records, and just never did my version of it. “Hot Rod Pipedream” was written in 2015 or 2016, and “Risen Road” was from around the same time.
Let’s talk about The Blade, which just celebrated its tenth anniversary. You played the album through at a show in Nashville recently. What was it like revisiting those songs?
It was so special because I hadn’t really sung those songs. I’m funny about that – I don’t go back and listen to my old records. It’s not like you forget, but you do move on. Singing those songs, even at rehearsal, I got so emotional.
Did any of the songs in particular hit you differently this time?
I was thinking “I Buried Your Love Alive.” I literally felt thunder. I don’t know how to explain it, but there’s a ghost in that one. “Bombshell,” too. At the show I was thinking about how relevant it still is. I still understand the emotion in that song.
In the commentary you recorded at the time, you mentioned that “Bombshell” could be about a few different scenarios. It struck me that you said it could be about a breakup, but it could be about telling someone you have cancer.
I remember that. I forgot until you started to say that, but it’s so true. It’s that feeling of like, “This is big news, and it’s going to blow up life as I know it.” It was definitely a bombshell, and then I had to tell people I had cancer.
I was diagnosed in 2021, and when I came into Tennessee Lightning, I knew that I had to step back and reflect. I had to look back at the whole picture. I had someone ask me in an interview recently why I didn’t sing about cancer on the album. It’s like, I don’t want to think about cancer. Music to me is my holy, sacred place. Even though I sing about painful things and I can keep those emotions with me, I didn’t want to think about it enough to write a song about it. Maybe it’s that cancer has already robbed so much from me. I mean, it killed my dad. It’s already affected me, my family. Maybe I haven’t fully processed it yet. In a way I’m pretending it didn’t happen.
The only place on the record where I did feel the cancer feeling or acknowledgement of my emotions around it was “Jesus, Hold My Hand.” I used to sing that song when I was really young and feeling scared. I really felt it because when I was really sick, with chemo and everything, I felt as close as I ever have to that feeling of handing it over or surrender. It was like I was leaning on the spirit more than ever before.
The hymn is such a stunning moment, in a way that feels different from what you’ve done before. There are a lot of religious references in your songs, but there’s also this thread of religious guilt, particularly on the Pistol Annies songs “Beige” and “Leavers Lullaby.” There’s a lyric in the latter, “It’s as deep as the water that stains me” that comes to mind. Would you say your relationship to your faith has changed?
I can’t speak for the other Annies, but for me the “bite” in those songs is directed toward the people rather than about the pureness of it. The judgment and sending people to hell thing. I grew up with the Bible Belt and I think Jesus has a sense of humor and a lot of church people don’t. With “Risen Road,” it’s like, “You can read the Bible, quote it verse for verse/ You can steal a pain pill out of Mama’s purse.” And when I say “you,” I mean me, because I would do that. I think there’s something to being humble enough to say, “I can believe in God and still be exactly who I am.”
I wanted to ask about that line on “Risen Road,” which of course caught my attention. Between this song, “Best Years of My Life” and of course “Takin’ Pills,” pain pills have become something of a motif in your work. Why is that?
Well, because I was on pain pills for a long, long, long time. My dad died when I was 13, and at the time I was very straitlaced. All my family lived on the same road, we went to church, nobody cussed, nobody drank, nobody smoked. After my dad died, my mom kind of disappeared with a guy. She had a nervous breakdown, really, looking back. He died in February 2000, and she was gone by June.
Looking back, I was flailing. I was devastated, and my mom wasn’t around, and then my brother started having wild, wild parties and I was like, “Hell, I might as well. Give me a Zigma.” Everyone around me had pills and I’d say, “Give me a pill.” I was probably 14 or 15 and my cousin and I would keep a mirror under the front seat and snort oxycontin. Not oxycodone. Oxycontin. It’s a miracle I’m still alive, because I didn’t even know what that was. I just knew that it numbed me out. And, in all fairness, I needed numbing out. I’m not saying it’s the right thing to do, but sometimes, if you can just stay alive – and thank God I did – these things will get you through.
Honestly, though, I don’t think I was ever hooked on them. I’ve never had trouble giving up something when I know I need to. I was on them in my 20s a lot and I was drinking a lot at the time. And then, you know, I OD’d at Saddle Ranch in LA. Like, they thought I was dead. I was like, “Are you crazy? You survive all of that and then let a pill take you out?” So, after that, I quit taking them. But, you know, I took them after my C-section. I took all of them. I just think different people are wired differently and I do think it’s kind of funny now.
“She’s on the highest dose of Prozac a woman can take.” I was.
“She likes to pop her pain pills with every little ache.” I did.
It’s interesting, what you said about wanting to feel numb, because the songs that you wrote during that time had so much pain in them. They really cut.
Well, music’s always been where I let my pain seep out. When my dad died, I remember holding my guitar and sitting at the edge of my waterbed, and it was like the guitar was saving my life. It was keeping me together. And I still use music like that – I pour out pain that I don’t even know is in there sometimes. The pain pills don’t get you all the way numb. They get you numb for about 25 minutes, and I needed those 25 minutes back then.
I was fortunate to grow up in a time and place where some of the first generation of bluegrass artists were still out performing – and that is my heart. To see these guys on stage made me want to dive in the music more and learn all I could from the people that helped create it. Bobby Osborne is part of the reason I play bluegrass music for a living. I wanted to be like him. He’s also one of the reasons I still play music for a living. At one time, I was gonna give it all up – several times actually – but Bobby’s love for the genre 70-plus years after he started was encouraging. He also believed in me and I can never thank him enough for that.
I met Bobby for the first time in 2004 and got a picture with him (that is included in the new album’s liner notes). The kid in that picture would have never guessed what the next 20 years would hold for him.
Touring with Karl Shiflett’s Big Country Show and then The Po’ Ramblin’ Boys, I was around Bobby a lot on the circuit and always made time to visit him. I later joined him for a few months at the Kentucky School of Bluegrass & Traditional Music in Hyden, Kentucky, where I took lessons from him. From there, we somehow became buddies. I started visiting him at home and stayed in constant communication with him.
The new album on Turnberry Records, Keep On Keepin’ On, is a reflection of our friendship. It started as a project with Bobby, then was shelved for quite a while. I couldn’t bear to hear his voice on this record after his passing in June 2023. Then, with a little help from friends and Bobby’s spirit, the project became one that was for Bobby. The original idea was awesome, but what it has bloomed to be with all these amazing guests to help me out– I would have never imagined. I hope folks enjoy it as much as I enjoyed making it, and Long Live Bobby Van Osborne! – C.J. Lewandowski
March 17, 1973 was an extremely historic moment for bluegrass music. In this video you are viewing the very first time that bluegrass was played in The White House with the most iconic bluegrass song of all time, “Rocky Top.” Bobby was so proud of this moment and spoke of it often. You can see the joy in his face.
This features a 1970s Gibson mandolin that he later traded for a 1924 Gibson F-5. It was plugged right into an amp, which was also a historical moment for bluegrass. Bobby gave me the strap he is wearing in this video and it now resides in the Bluegrass Music Hall of Fame & Museum in Owensboro, Kentucky.
The Osborne Brothers were all over network television for decades and this is an example of such with “Ruby.” Even in his 40s, Bobby is stretching his boundaries. The instruments are tuned up 1/2 step, playing a E flat in D position. These are suits that were made by all the wives of the band members, as well.
“Rosie Bokay” is probably my favorite song on the new album. Paul Brewster sings the album cut and is also featured on the guitar in this video. Bobby heard Lincoln Hensley kick this off in the studio, just toying around, and he immediately said, “Let’s do that.” So we did! What Bobby wanted, Bobby got. He sang a scratch vocal, but was never able to get back in the studio.I think Bobby would be very proud of Paul’s vocals on the song.
The look in Bobby’s eyes was incredible in this video. I have a feeling he was proving a point to someone for some reason. Could it have been the divorce he was going through? Could it be the heart surgery that was near to this video taping? Who knows. I just know that Bobby was singing his ass off and I love it!
This has nothing to do with Bobby’s music, but I feel like this needs to be recognized. This is an hour-long interview pertaining to his time in the Korean War. A huge part of Bobby’s life. It may be a long video, but if you want to learn about Bobby Van Osborne, this is mandatory.
He was truly an incredible force of a human being in every aspect. Thank you for your service, Bobby.
This is live at Bean Blossom in 2009 featuring a song from Bobby’s solo career that he recorded on Rounder Records. Bobby talked about cutting this song again on the newest project, but we didn’t get to it. What a great message, right? Bobby’s compassion for people was always present.
Bobby did a YouTube series of him playing his favorites. Here is an example of Bobby playing his own piece, “7th of December.” Mind you, he was in his late 80s and could still play great. This is one of the actual tunes of his own that he taught me while visiting him at his house.
Twin banjos, steel guitar, the Grand Ole Opry, the best singing – can’t ask for anything else.
Bobby worked for several months with The Stanley Brothers before being shipped off to basic training and planned to return to work with them when he came back home. He had no idea his brother was working with Bill Monroe.
This video was filmed at the most important place to Bobby, the Grand Ole Opry. The twin banjos of Sonny and Bobby’s son, Wynn, are just amazing, This song is also featured on the new project. Bobby singing it at 91 years old is a different kind of hurt.
Photo Credit: C.J. Lewandowski (left) and Bobby Osborne (right) by Jeff Daugherty.
If you’ve spent enough time within the sacred walls of a sanctuary, chances are you’ve witnessed or experienced church hurt – the trauma foisted upon others, by others, under the guise of scripture. Logan Simmons – a woman of deep faith and former worship leader who grew up in the church and cultivated her powerhouse vocals in the sanctuary – knows this too well. Together with her best friend and musical other half, Malachi Mills, Simmons channeled her wounds into The Band Loula’s single “Running Off The Angels,” an unfiltered exposé of damage done in the name of religion. Reaction has been overwhelming, as both song and video cut deep into listeners who recognize their own stories in the song.
This isn’t the first time the songwriting team of Simmons and Mills has made a bold statement. Tackling and confronting dark subjects usually swept under rugs and stuffed away in family closets seems to be their comfort zone. “Marshall County Man” began as their take on the traditional “murder ballad.” However, with its challenging lyrics and graphic video, the song quickly pivoted to an outcry about domestic violence and generational trauma, speaking loudly to systemic treatment of victims/survivors.
All is not grim in the world of The Band Loula. Far from it, in fact, as evidenced on their debut EP, Sweet Southern Summer, which was produced by Brothers Osborne’s John Osborne, with additional production by Greg Bieck. The six songs – “Running Off The Angels” among them – are a slice of life reflecting Simmons and Mills’ experiences growing up in Gainesville, Georgia, up to the present. The two attended school and sang in church together and became best friends along the way. At one point, their paths diverged. Mills pursued music full-time, including an American Idol audition (fun fact: Luke Bryan voted him a firm “no”), a solo career, and writing for and working with other artists, while Simmons built a successful photography business.
Music, however, had the strongest hold, bolstered by their enduring friendship. They launched The Band Loula in 2020 and officially debuted as such in 2022. They independently released singles recorded at Ivy Manor Studios, where they worked with close friend, co-writer, and guitarist Gary Nichols. Universal Music Publishing Group discovered, auditioned, and signed them in 2023; Warner Music Nashville did the same the following year. They spent 2024 on the road with Brothers Osborne, Ashley McBryde, Paul Cauthen, Brent Cobb, and Elle King.
This year, The Band Loula and their band – Gary Nichols on guitar, Jamie McFarlane on bass, Justin Holder on drums, and Diana Dawydchak on fiddle – are spending the summer touring with Dierks Bentley and Zach Top. When they spoke again with Good Country, they were weeks away from a date at Madison Square Garden and from their Opry debut, and equal parts overjoyed, incredulous, and grateful for all that has happened and is yet to come.
Let’s begin by having you introduce each other to readers.
Logan Simmons: I’m Logan, I’m half of The Band Loula, and Malachi is the other half who leads us very well. He’s been writing songs and playing music since he was 16 or 17, and we’ve been friends since we were 14, so I’ve gotten to watch that whole journey. He had his own career going, added me into the mix once we found that we had some magic, and we created The Band Loula. We bring different things to the table. He is an incredible singer and guitarist, and he’s the planner of the group. He’s got all the logistics underway. He knows what everybody’s doing and at what time. I’m pretty much the opposite of that. I’m very Type B. He keeps us together. He’s definitely the glue of the band.
Malachi Mills: I’m Malachi, and as Logan mentioned, we met when we were 14 years old. When I first saw her, she was performing a skit onstage with her cheerleading squad doing a Justin Bieber dance. We were friends through high school, went to church together, and sang together in church a handful of times. I also got to watch Logan’s career as a photographer. She started when she was still in high school and now she is critically acclaimed. Along that journey she learned so much about visual arts, marketing, and things that are a major part of her role in The Band Loula. She is the brains behind our social media and she’s an absolute visionary. Big visions, big emotions, a great songwriter, and obviously an excellent singer. Half the time I’m just trying to keep up with her vocally.
Logan, is it correct that you first heard Malachi sing at a Relay For Life event?
LS: Yes. It was the same event he’s referring to. We both signed up for karaoke, essentially. I saw him first. He was onstage singing “When a Man Loves a Woman” by Percy Sledge. I did not see him when I was onstage in my Justin Bieber outfit, with Ray-Bans on, because I couldn’t see much of anything! But yeah, that was the first time I ever saw him. That’s how we met.
Universal Music Publishing Group came to see you at a gig in a Gainesville parking lot. What, exactly, is the story?
LS: In April 2023, we got an email from Ron Stuve at Universal Music Publishing Group. We had plans a few days later to play under a little pop-up tent by the lake in Gainesville. It was a Food Truck Friday event. Ron came to Georgia with his family and saw us play there for the first time. We didn’t expect this at all. At first, we thought the email was spam because we didn’t have any followers. We were a very small band. But Ron came and he believed in us.
How did he find you?
MM: Ron was on his iPad early one morning and saw an Instagram video of our song “Getting Clean.” He didn’t know how to save it, so he left his iPad open on the charger, for hours, after he had woken up, so he could step away! Thankfully, we were still there when he came back. He submitted a form on our website to email us. We only had that video at the time. It had about 10,000 views, which, when you’re a small band, is a lot. But in the grand scheme of how many views happen daily in the world, that was pretty small odds, so we definitely think it was meant to be.
It’s quite a jump from a food truck gig to Madison Square Garden. Can anything prepare you?
MM: There’s nothing we could have done to fully prepare for the mad rush that has happened over the past two years of our career. It’s been a very quick rise, a lot of opportunities that came fast, but in a weird way we’ve had peace about it the whole time. With our separate journeys, we’ve been able to build the skill sets to come together and be ready for the opportunities that have been given to us. All that to say, stepping out onstage at Madison Square Garden … you can call us back in a couple weeks and see if we feel the same!
LS: There’s nothing to prepare you for something like that except thoughts, and prayers. We’re not even halfway up the ladder. It still feels like we’re babies and a lot of what happens to us doesn’t really hit us until it’s happening or after the fact. We don’t expect anything. We just put our heads down, work, hope that what we believe in is connecting with people, and we’re really thankful when it does. We’re grateful for all the opportunities we’ve been given.
How did your separate journeys help lay the groundwork for the band?
MM: I’ve always had a strong love for songwriting. I looked at the artist side of it as supplementary to that. It’s given me an outlet. I never felt I had a place as an artist until The Band Loula, because there’s so much identity and chemistry in what we have together. All that experience came into play when we started to really commit to this, for sure. You learn what to do and not do, and I was able to bring a lot of what we probably shouldn’t do on our journey as artists, because I had lived and learned in some of those areas.
LS: It taught me a lot about life in general. I shot my first wedding when I was 14 or 15. My dad drove me. One of my cheerleader friend’s sister asked me to shoot her wedding, which is a very important thing. I couldn’t believe she asked me to do it. I learned a lot over twelve years of doing it professionally. You can’t replace the connections you make in that kind of business, where you deal with people of all ages and from all walks of life every day. At one point I was traveling every week, meeting new people, driving across the desert in a podunk car, and sleeping in the car, just to make it to the next shoot. It’s life lessons and learning about yourself.
Now that we’re in the music industry, I find myself using those tools. The photography world is a lot of people-pleasing and deadlines. It tests your strength and emotional intelligence, which is a real skill that you can use in every industry. I feel like I have mastered some corners of that, of being emotionally intelligent, reading people, making real connections, and how that can get you to the next step. Every milestone and opportunity we’ve gotten as the band has been a product of how well we treat the people around us and how we reciprocate the love that’s given to us. I’ve learned how to master that because of all the people that were put in my life during my photography years. I’ll never forget what I learned and the people I met. I [recently] had some backstage guests at a show with Dierks Bentley and it was two people I shot a wedding for in Maine a few years ago. Watching those people become our fans is irreplaceable for me.
What were your goals for Sweet Southern Summer?
MM: Our main goal was to show our listeners a different side of us. A lot of the tracks we’ve put out so far have done a great job of showing a more emotional side. Usually, people don’t come in off the bat with emotional songs. They come in with lighter or more topical songs. We came in with a pretty heavy side of us, and I think that’s why our fans appreciate us. But we wanted to show our fans that we also have songs that are a little less gothic and more bluesy and rocking and soulful.
LS: With this EP and beyond, the goal is to show a different side of us each time, so our fans feel like they are learning more about us, and the relationship gets deeper and deeper. But we also are keeping the common thread of who we are and who we’ve always been. This EP is so exciting because it’s fresh and different, but it is obviously working toward a goal of a debut album. I think these songs will maybe surprise people and keep them on the journey. We really believe in this EP and we hope it connects with folks.
You’re both very open about your faith. How does that guide you and keep you grounded?
MM: A big hinge point in faith is being grateful. Whenever you’re grateful, you’re reminded where opportunities and things in life come from. To think that we could have put all this together with our own two hands would be egotistical. We’ve worked very hard and intentionally, but we believe that if we take care of the small steps, put one foot front in front of the other, and stay grateful for the opportunities that are coming, God will continue to bless us with those opportunities and take care of the big picture.
LS: I agree. Malachi has been a really good leader in that way to point us toward the bigger picture, which is having faith and believing that God will get us where we need to be. I led worship for a long time, but I had a falling out with church and a large moment of my life that was hard to believe that something … I don’t know. It’s a lot to chew on. For the past few months it’s been lovely to watch Malachi lead our band in prayer and keep God and our faith at the center, because I was not previously doing that. I had a really hard time getting past some church hurt and realizing that God is the reason why we’re here and why we’re doing this. That is what I believe now, and that’s what I’m getting back to after a lot of trauma, a lot of hurt, and a lot of figuring things out.
Thankfully, that’s why God put us in a duo – because we’re two different people and we’re able to lead each other in different ways. I’ve continuously been watching Malachi lead in that way and help me regain faith. We like to keep that at the center of our band. I can’t walk onstage without him praying for us now. We both believe we’re not here because of us or something we’re doing with our two hands. It’s a lot more divine than that, and it’s a beautiful thing.
Church hurt is an inconvenient truth mostly swept under the rug, which speaks to the overwhelming positive response to “Running Off The Angels.” Did you also experience blowback?
MM: We don’t ever want to be divisive in any way. Our main goal, without being too specific, is to promote love first. We don’t want to promote judgment. There’s a lot of judging people before you even get to know them, and I think our songs do a good job of reminding people of that reality. I think the ones who get frustrated might be actively judging in that way, or maybe they’re coming to grips that they’re ready to change for the better.
LS: “Running Off The Angels” has been interesting for us, because we weren’t a hundred percent sure we were going to put it out when we first wrote it. It was very specific to my experience and it crosses some lines. We got a wonderful response. We went out on a limb a little bit and were like, “Let’s just post this on social media and see what happens,” and it went viral. There was a lot of blowback, too. On social media, in the Facebook world, people like to talk. They like to hide behind their keyboards. So we did get people who didn’t enjoy the song. But at the end of the day, you can write about experiences that don’t necessarily encapsulate who you will be forever.
When we wrote, “I quit church and never went back, sang my last red-covered hymn,” that isn’t necessarily completely true to me now. But the song has so many truths to it, and it’s something that needs to be said, because people are struggling every day with church hurt and trauma, and it’s not talked about enough. There are wonderful communities and people and churches out there, and I’m thankful for that. And then you have wonderful churches that have people in them with bad intentions or who don’t understand how to treat people. We hope that people always turn toward love, if they can. That’s all that song is about. But it was wonderful writing it, recording it, teasing it, releasing it, and gaining new fans from it.
One of your social media posts says, “Songwriting is an ugly truth. It makes you dig through trauma with your hands, open up an emotional filing cabinet that you locked away and somehow come out on the other side with something you’re proud to sing in front of folks.” How does music help you heal that trauma and protect your mental health?
LS: Music is everything. I’m very much an empath, so music and songs that make me feel something shape who I am and affect me in different ways. That sentiment has amplified now that I’m a songwriter, because I get to create the music that is helping heal me. It’s not just I hear a song that pertains to me and takes me to a place. Now we get to write music that is about what we are feeling and what we experience. That’s therapy. It has deeply affected who I am. It has healed me in many ways. Most of the trauma I went through was recent, in my twenties, so this career choice, leaning into this passion and into music, happened exactly when it was supposed to happen, because it has helped pull me out of some deep, dark places.
MM: I agree. Songwriting and music are very cathartic. The fact that there is a song in my heart, in my brain, inside of me, and having the ability to get it out into the world, is very healing. Also, when you’re able to say things that other people don’t feel they have the words or the song inside of them to say, that is very special, because it makes you feel like you’re really making a difference.
Artist:Bonnie & the Mere Mortals Hometown: Avella, Pennsylvania Latest Album:Take Me to the Moon (available August 29, 2025) Personal Nicknames (or rejected band names): I get Bonald a lot. Bon Bon, Bonners, Bonnie Romano.
What’s your favorite memory from being on stage?
Two years ago for our Halloween show, I looked out in the crowd and saw a complete stranger scream-singing along for the first time. As an artist, I constantly question what I’m doing. This is a hard path we’ve chosen that can beat you down a lot, but you can’t fabricate that moment. You’ve reached someone, you touched their lives in some way. I’ve since had that experience dozens of times and have even gotten to do a Bonnie & the Mere Mortals tattoo on a fan, but you never forget your first.
What other art forms – literature, film, dance, painting, etc. – inform your music?
I truly think the difference between art forms is no wider than the difference of medium: oil or watercolor? Everything is how you choose to express your idea. I have a literature degree and I grew up in an abandoned coal town; I wanted to make music the way Southern Gothic writers like Michael McDowell made me feel. Southern Gothic is often seen as just slow Americana in a minor key, but I wanted to expand that thinking to include my experience growing up in a Southern Gothic tableau. I also dress up like a drag queen because I want the Mere Mortals to be as visual as we are musical. Our presentation is always firmly tongue-in-cheek because every murder ballad has a punch line and I never think you should take yourself that seriously.
What’s the most difficult creative transformation you’ve ever undertaken?
When I was growing up, it was the golden age of pop-country. Miss Shania Twain, Garth, the Chicks? Everywhere. I grew up on the values of Hank and “Raise Hell, Praise Dale.” Post 9/11 though, I really started to resent my upbringing. I discovered the Cure, Queen, and Bowie, and put aside Ralph Stanley. I moved to the city, came out as queer, and started a metal band. I never truly felt fulfilled though. I felt I had to hide a part of myself that made up so much of my character.
It wasn’t until I heard Gillian Welch for the first time that I started to dive back into myself and realized that I wasn’t really making art authentically. I bought a banjo and started to learn clawhammer. I rediscovered so many loves I had put aside and I began to feel myself again. I realized that what I loved about the Smiths was the same thing I loved about Jason Isbell, and I couldn’t see why they shouldn’t go together. Some of my folks couldn’t understand the transition, but they certainly do now.
What would a perfect day as an artist and creator look like to you?
Film an episode of The Muppets as a special guest and then head over to Dolly’s house to cook her a pasta dinner.
If you didn’t work in music, what would you do instead?
My day job for the last 15 years has been working as a tattoo artist. I co-own a shop in Pittsburgh called the Kindred Spirit Tattoo Co. It can be hard making it as an artist on both sides of the sun, but I feel so grateful I get to do two things I love so much.
Photo Credit: Veronica Baron
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