LISTEN: Fireside Collective, “And the Rain Came Down”

Artist: Fireside Collective
Hometown: Asheville, North Carolina
Song: “And the Rain Came Down”
Release Date: September 24, 2021
Label: Mountain Home Music Company

In Their Words: “A few years back, I was listening to a story on NPR about some of the intensifying storms that had been hitting the coastal regions of the Southeast. At one point, the host said ‘the rain came down, and the rain came down…’ and for some reason it stuck with me. I jotted it down in my notebook and started thinking of ways to use it in a song. It didn’t hit me until about a month into COVID, when there was still so much uncertainty and nobody really knew what was going to happen. It just so happened that I had recently begun reading the Old Testament from a historical/analytical perspective and the story of the Great Flood in Genesis seemed to resonate with our current times. I started thinking of the whole experience as a paradigm shifting event, much like the events of Genesis. There were so many parallels between the never-ending storms of Noah’s time and the sociopolitical events that took place during the first few months of the pandemic.

“Despite the song’s somber overtones and the uncertainty of the story, there is still a message of hope. The sailor in the song seems to understand that despite the endless storms and the rising waters, behind the clouds the light still shines. He keeps pushing on despite the challenges he faces with hopes of a brighter day. Many people in the music industry were forced to find silver linings and to push through the storms in the last year and a half. Fireside Collective has found many ways to reinvent ourselves and to use the situation to better ourselves. Even though we still face unprecedented challenges, we are fortunate to be able to still create music and find ways to share our art with the world. We are beyond thrilled to release ‘And the Rain Came Down’ and we are so delighted to be able to record new music. We know there are brighter days ahead and we have never appreciated the ability to play music for a living as much as we do right now.” — Jesse Iaquinto, Fireside Collective


Photo credit: Jace Kartye

WATCH: Jaelee Roberts, “Think Again”

Artist: Jaelee Roberts
Hometown: Nashville, Tennessee
Song: “Think Again”
Label: Mountain Home Music Company

In Their Words: “I heard ‘Think Again’ for the first time a couple of years ago and I knew immediately that I had to record it! I love how the songwriters (Marla Cannon-Goodman and Shane Stockton) told such a vivid story… songs that you can ‘see’ and ‘feel’ are my favorite! I had so much fun during the filming (I really loved driving the convertible and the drone was awesome) and I am SO excited to be able to bring this song to life in my very first music video. There are a couple of lines in the lyrics where the video and the song really connected: ‘If you’re standin’ at the screen door, heart laid open out in your hand’ and ‘I’m gonna find a spot to pull off on the shoulder’ — watch for those scenes in the video. I’m just really thankful I got to record ‘Think Again’ and I sure hope everyone enjoys the video for it!” — Jaelee Roberts


Photo credit: Sandlin Gaither

LISTEN: The Grascals, “Maybelle”

Artist: The Grascals
Hometown: Nashville, Tennessee
Song: “Maybelle”
Album: Up All Night
Release Date: August 27, 2021
Label: Mountain Home Music Company

In Their Words: “It’s very rare when looking for a song that you find exactly what you’re looking for. This was the case with ‘Maybelle!’ The song sounds like it came from deep within the mountains. From the haunting words to the clawhammer banjo and fiddle, this song will grab your attention.” — John Bryan, The Grascals


Photo credit: Sandlin Gaither

LISTEN: The Chuck Wagon Gang, “Two Gardens”

Artist: The Chuck Wagon Gang
Hometown: The current members are pretty scattered, but the Chuck Wagon Gang originated in Fort Worth, Texas
Song: “Two Gardens”
Album: Radio Days
Release Date: August 13, 2021
Label: Mountain Home Music Company

In Their Words: “We’ve had many fans request a recording from our old radio show. We’re so happy to finally be able to grant that request. We’ve put several old songs from the 1940s that we deem a deeper dive into the Chuck Wagon Gang archives. But there are also a few newer songs like ‘Two Gardens’ on this latest recording. We received the demo for ‘Two Gardens’ and I remember not being able to get the tune out of my head. Put that together with amazing lyrics and I believe we have a song fans will truly be blessed by!” — Shaye Smith, The Chuck Wagon Gang


Photo credit: Clay Lisenby for The L House Photography

As Banjo Players and Friends, These Women Set the Tone in Bluegrass

It’s always an honor to be nominated, as they often say, and even more special when you share a category with close friends. Achieving nominations once again for the 2021 IBMA Bluegrass Music Awards, Kristin Scott Benson, Gena Britt and Gina Furtado are competing for Banjo Player of the Year — and cheering each other on at the same time.

In a nod to the growing prominence of women who play one of bluegrass’s most iconic instruments, Benson and Furtado found themselves collaborating as producer and artist respectively on the latter’s most recent recording session, resulting in the release of “Made Up My Mind” and “Kansas City Railroad Blues” by the Gina Furtado Project.

Each also picked up additional IBMA Award nominations — the Project qualifying in the organization’s bellwether New Artist category, while Benson, already a five-time Banjo Player of the Year recipient, Steve Martin Banjo Prize winner, and a member of Grammy-nominated band The Grascals, earned an additional nomination in the Instrumental Recording field for her lead role in “Ground Speed,” released as one of a series of special in-studio collaborations for the Mountain Home label’s Bluegrass at the Crossroads series.

Furtado says, “Sometime last year during COVID, Kristin contacted me and said, ‘Hey, we’re so similar! We both play for Mountain Home. We both played with Chris Jones for a while. We both love dogs… we’re mothers… we play the banjo, and we’re not men! Why don’t we combine forces in some way and record a tune or something?’ Our busy lives prevented that from ever happening, but many months later I really needed to think of the perfect person to ask to produce my new batch of singles, and Kristin was exactly the right person.”

She adds, “I was really needing someone who brought not only brilliant musical ideas, but positive, feminine energy. Studios can be such man caves! I guess that’s not PC, but it is completely true. Kristin has motivated and inspired me so very much as a banjo player and human; from her sparkling solos, to formidable tone and timing… and yes, as a young woman learning to play the banjo, I was inspired in a unique way by this amazing woman out there shredding the best into the ground. Being nominated alongside her is super fun and above all extremely humbling!!”

As a producer, Benson brought out the best in Furtado’s recordings. “Gina can stand on her own as an artist,” she says. “My goal wasn’t to change anything about who she is as a writer, singer, or banjo player. I wanted to facilitate and shepherd her and the band through the recording process, from arranging to mixing, to hopefully help her achieve her goals in how she presents her music.”

Benson continues, “I think the ultimate success for women in bluegrass, or any other field, will be when we don’t pause to celebrate it because it’s so normal. That’s when we’ll know that women have seamlessly integrated into whatever we’re doing. Until then, I think we encourage and help each other as much as possible along the way..”

Attesting to the long-standing friendships that bluegrass nurtures, Benson adds, “I first met Gena Britt when I was in high school. She was already out-and-about, playing with an all-female group called Petticoat Junction, though she played bass in that band. She was always so kind and inviting to me. I’ll forever appreciate that.”

In addition, Britt shared an IBMA win with Sister Sadie last year as the Entertainer of the Year. Composed wholly of female musicians, the ensemble has picked up Vocal Group of the Year trophies for the last two years — and they’re back in that category this year, too. “I’m honored to be included in the final nominations for this year’s IBMA awards,” Britt concludes. “There are many incredible women nominated this year. But mostly… there are many amazing musicians that I’m proud to accompany.”


Photo courtesy of BGS sponsors, Crossroads Label Group. Pictured L-R: Gena Britt, Kristin Scott Benson, Gina Furtado

LISTEN: Lonesome River Band, “Every Minute Means a Mile”

Artist: Lonesome River Band
Hometown: Floyd, Virginia
Song: “Every Minute Means a Mile”
Album: Singing Up There: A Tribute to the Easter Brothers
Release Date: July 23, 2021
Label: Mountain Home Music Company

In Their Words: “‘Every Minute Means a Mile’ is an Easter Brothers classic that talks about the common man’s journey to the cross and Jesus Christ. If we follow The Cross on this journey, the Greatest Reward is on the other side. We cannot look back at what we have done, but we must keep our eyes on the Cross and with patience, we will gain our Heavenly Reward. There is nothing complicated in the way The Easter Brothers wrote the lyrics. Simplicity at its finest!” — Sammy Shelor, Lonesome River Band


Photo credit: Anthony Ladd

BGS 5+5: Anya Hinkle

Artist: Anya Hinkle
Hometown: Asheville, North Carolina
Latest album: Eden and Her Borderland
Personal nicknames (or rejected band names): Anyabird

Which artist has influenced you the most … and how?

I guess far and away I have to answer — Gillian Welch. I grew up in the New River Valley of Virginia listening to Tony Rice, Norman Blake, Taj Mahal, Hot Tuna, Muddy Waters, Grateful Dead, and Old and in the Way, loved bluegrass and blues, but also female folk singers like Joan Baez and Judy Collins, pop stars like Madonna and Cyndi Lauper, and songwriters like Sarah McLachlan, Natalie Merchant, and Suzanne Vega. It just took Gillian to come around with her Revival album and put all that together for me, that you could incorporate all those great roots sounds into something completely modern and original. I was living in California at the time I heard her first album. I grabbed my fiddle and headed straight down to 5th String Music in Berkeley and started going to every bluegrass jam I could find. I thank her for giving me the idea that I could do it too — because of her genius, I could begin to imagine myself singing and playing guitar and writing songs too. It’s important to have someone you can look up to and that you can relate to so you can even have the idea in the first place.

What’s the toughest time you ever had writing a song?

For more than a dozen years now, I’ve been hanging around the Cumberlands with my buddy “Hippie” Jack Stoddart, someone who, in his rough and audacious way, brings people together to make a lot of magic. Hippie said to me one day, “I want to introduce you to Zona.” He’d been doing a lot of outreach work out of an old school bus bringing groceries and coats and toys and stuff to people living in former mining towns in Middle Tennessee. So he brought me up the mountain to meet the hardened sweetness that is Zona Abston. We sat around her kitchen table and she told me her life story, a miner’s daughter, growing up with little education and no money, not much luck or hope. When we collapsed back in the truck, Hippie said to me, “You better write this shit down!” And so I did. I wrote every detail: the cancer, the hunger, the cheating, the shining, the debt, the babies, the heartbreak. I came back with a mess of notes and thought, “How do I make a song out of this?” So I sat down and tried to pull out the most specific and moving details of everything she told me and created a ballad for her. I was super nervous to play it for her because, well it was HER life. SHE had to live it. But when I sang it for her the tears rolled down her beautiful face. She said, yup it’s all true, every word of it.

If you had to write a mission statement for your career, what would it be?

I actually thought about this a lot earlier this year, during the pandemic when I was trying to understand what my purpose was in music when it seemed like the industry was going to hell. I decided to focus on three things, and wrote them on a yellow sticky note that is taped in front of my desk for quick reference. The first is authenticity, and a commitment to truth and honesty to who I am as an artist. It’s a challenge to believe that it’s all already inside. I don’t need to grasp at something outside of myself. I just need to continue to learn to trust myself and be myself. The second thing is connection — connection with other artists and musicians, connections with my fans and supporters, and connections with anyone along the path. Those beautiful relationships are the foundation for anything I can possibly hope to accomplish in this lifetime. Saying “yes” and valuing the people that show up for me is oxygen. The third thing is creativity — growth and discovery. Allowing myself to surrender to the journey, giving up thinking I have to have everything figured out and under control. I need to just submit to curiosity, openness, and faith.

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

Before I was a musician I was trained as an ethnobotanist. I traveled half the world studying plants and their uses and connections to culture. I love referring specifically to plant species in my songs because they can be so symbolic in our physical world. For example, in the the title track for my new record, Eden and Her Borderlands, I use a couple of plants that carry a deeper meaning. The cedar is fragrant and twisted, it’s green the year round, its oils are used to protect against decay and disease, it is sacred and ancient in its symbolism. I also use the sycamore. It is stately and grand, always grows near sweet water. It is often a boundary and its presence on the landscape signals a threshold that we approach and then cross over. Adding these botanical details to the song is like adding spices to a recipe, it gives more depth, even for those that might not know anything about botany. And who knows, maybe it will inspire people to love plants like I do!

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I love this question because initially there can be so much fear in exposing your true self. Absolutely mortifying to lay bare the thoughts and emotions of a real human, the one behind the Facebook posts and the stage persona and the person you think you are or wish you were. The real one with all the real flaws, that is the person that is actually interesting. But the songs really push yourself (myself!!!) to look in the mirror and substitute the “you” with “me,” to get personal. Well, it’s a journey of acceptance and insight. Getting personal is the thing that connects us to the rest of humanity and, honestly, the thing that makes a good song, the thing that makes a song relatable.

I recently took a songwriting course with Mary Gauthier. In the song I shared, I kept referring to myself as “babe.” She said, who is babe? She focuses a lot on pronouns, you know, who are we talking about here? Because in our heads, it’s always about us. It can’t NOT be. We are trying to figure out what the hell we are doing here and if we are at all worthy of anything we are pretending to do. It takes a lot of working through fear to write songs. It’s good work.


Photo credit: Sandlin Gaither

BGS 5+5: Aaron Burdett

Artist: Aaron Burdett
Hometown: Saluda, North Carolina
Latest Album: Dream Rich, Dirt Poor

Which artist has influenced you the most … and how?

There have been many and they have all influenced me in different aspects of my music. From the control of Broadway and operatic singers to the technique of multiple guitarists to the artistic approach and craft of various songwriters, it’s not just one or two sources. And honestly I’m not sure that a lesson I learned from an artist 20 years ago would strike me as at all meaningful today if presented with it, but that lesson at that time is what got me to the next stage and is why I am where I am today.

I refer to John Hiatt a lot as an influence; his music meant a lot to me at one time and conceptually means just as much to me today. He writes with heart and emotion and incredible depth, but also with a lightness and humor. He’s a serious songwriter who does not come across as taking himself too seriously. I’ve never met him but that’s the impression I get. He writes songs with personality and a unique voice. He uses phrases that don’t necessarily make literal sense. He’s his own person and does not sound quite like anyone else. I like that.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I don’t think songs work unless there’s some of the writer’s own truth in there. The emotional connection can’t happen if there’s not some of my own feeling included in the work. The flip side of that coin is that without adding in some observed or fabricated content there are only so many things you can write about from your own experience. I think that ratio is the secret sauce — enough of yourself that you can connect to the character, and enough diversity in the content that the listener stays interested in the narrative.

What was the first moment that you knew you wanted to be a musician?

It’s been a long process for me and it’s still ongoing. I’m not sure if I’m a musician yet. I connected with music and singing in particular pretty early on, and I started playing guitar in my early teens. At first listening to music was inspiring, and a place to have new experiences, but then eventually performing and creating my own music became my focus. Then when the music industry questions get thrown into the mix, I’m still not sure what being a musician is all about. Is it being someone who creates music? Someone who performs music? Someone who makes a living performing? I ask myself these questions a lot.

If you had to write a mission statement for your career, what would it be?

Keep going and keep creating. Don’t get complacent and don’t stop. Keep reading and following the signs and don’t be too rigid in your vision for the future. Stuff happens and most of it is good. Adjust as necessary. Get good people to help you and utilize them, if it’s management or booking or your spiritual advisor or whatever. Do the next right thing, and then the next. Don’t let the big picture overwhelm you, keep breaking it down to the next step. Be an artist. Be in the world but not of it. Be kind to others and be kind to yourself. Trust the process. Be patient and persistent. Do not be discouraged.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

I’d love to have a full Korean multi-course meal with all the trimmings, with Jerry Garcia and Doc Watson. I imagine that pairing would produce a few good anecdotes.


Photo credit: Sandlin Gaither

WATCH: Amanda Anne Platt & The Honeycutters, “New York”

Artist: Amanda Anne Platt & The Honeycutters
Hometown: Asheville, North Carolina
Song: “New York”
Label: Organic Records

In Their Words: “I always get ideas for videos when I’m listening to mixes in the car. My 20-month-old daughter really took a shine to this song one day while I was listening and started demanding it every time we got in the car… over and over and over. So I had a lot of time to visualize the story. It’s a song I wrote about leaving the house that I grew up in, and kind of saying goodbye to that younger version of myself. Our friend Gretchen Kauffman did such a great job as little Amanda! We had a really fun time.” — Amanda Anne Platt


Photo credit: Sandlin Gaither

LISTEN: Phil Leadbetter, “I Will Always Love You”

Artist: Phil Leadbetter
Hometown: Knoxville, Tennessee
Song: “I Will Always Love You”
Album: Masters of Slide: Spider Sessions (Various Artists)
Release Date: June 25, 2021
Label: Mountain Home Music Company

In Their Words: “I always loved this tune. I remember the first time I heard Dolly sing this live, it just killed me! Not only her voice, but the lyrics to the song were so heart-wrenching. I saw her many times telling the story about how the song came about. The story is a very sad one. I used to drive around and listen to that song from several of Dolly’s compilation albums, and it always had such a great melody that I kept hearing in my head over and over. I started messing with it, and liked the direction it was going. In 2010, I got a brand new Scheerhorn guitar. I was at a friend of mine’s home, and I was curious to see how the guitar sounded. I started noodling around and playing different songs to see how the new guitar sounded. My friend told me that I should seriously think about keeping the track. The track got lost over the years, but one day while looking through a bunch of files, I found it!! Me and my engineer worked on it, and I had thought about using it a few years back. So happy I saved it so it could be part of the Masters of Slide album.” — Phil Leadbetter


Photo courtesy of Phil Leadbetter