In Their Words: “The museum’s musical atlas of instruments continues with the opening of another wing, the first in a series on bowed instruments. To stretch boundaries over the earth and over time is to forsake them; whether it is a matter of Synchronizität or just the plain unconscious. In Western cultural history, the bowed instrument is a late installment, after centuries, of an almost primordial vibration that we imagine in sound; see in the old paintings; and yet can sample in the remnants of the ancient world captured on gramophone records.” – Pat Conte, curator
“The Secret Museum series is legendary. It opened up new possibilities for me when I first heard it in the 1990s. The curator is Pat Conte, he did something remarkable, even more so because it was before the internet: Starting in the 1970s he began assembling the first and arguably greatest collection of world music recorded in the 78 rpm record era of the 1920s – 1950s, give or take. He did it by casing junk stores in Queens, New York, the most diverse place in the world, and by maintaining letter correspondence with collectors and dealers across the globe. That is the music you will find on the Secret Museum of Mankind albums.
“Conte programs the records by feel, not with a predefined structure. The records are not meant to be academic, they are meant to move the listener. The movement is emotional, using music that was recorded in different places and at different times. Each listener will experience the sequence in their own way, and each track is its own world.
“The Secret Museum of Mankind: Atlas of Instruments – Fiddles, Vol. 1 continues the series and presents fiddle sounds developed and practiced across the globe. The compilation, drawn from Conte’s pioneering and remarkable personal collection of 78 rpm discs recorded in the 1920s – 1950s, offers fiddle music recorded across the world from Crete to Madagascar, Mexico, England, Sicily, Norway, India, the USA, Cape Verde, China and more.” – Eli Smith, producer
Image courtesy of Jalopy Records, Nick Loss-Eaton Media
Artist:John McCutcheon & Tom Paxton Hometown: Smoke Rise, Georgia; Alexandria, Virginia Song: “Life Before You” Album:Together Release Date: October 13, 2023 Label: Appalseed
In Their Words: “Tom Paxton and I started writing together early on during the pandemic and, with seemingly endless time on our hands, we tackled all manner of subjects and ideas. This one started out as a pretty standard love song. But, often, along the way, one of us will say, ‘Wait a minute, what if this turned left instead of right?,’ and we’ll bravely go down that blind alley. Sometimes it works, sometimes it doesn’t. Tom was particularly enamored of the way the ending comes out of left field to the listener, a real surprise. He breaks into a big grin every time the end of verse three rolls around. One of the great joys of songwriting teamwork is to see your partner so delighted with the final result. Doesn’t get any better…” – John McCutcheon
On August 11 and 12 Queerfest returns to Nashville, Tennessee, after its first in-person event in 2022 was named Nashville Scene’s Best New Music Festival. The multi-venue festival and celebration of queer folk, roots music, and indie will take place at three popular Nashville music venues – the 5 Spot, Dee’s Country Cocktail Lounge, and the Basement East – and will feature over eight hours of programming from LGBTQ+ identified musicians from across the genre landscape. (Full lineup and schedule below, tickets available here.)
In anticipation of this year’s event, we spoke to festival founder, community builder, singer-songwriter, and BGS contributor Sara Gougeon, founder and director of Pineworks Creative, about Queerfest, its growth, and why queer-centered communities are so vital, not just in Music City but in the music industry in general.
Congratulations on your second in-person Queerfest and your third ever! What are you looking forward to during this year’s festival?
SG: I’m so stoked about the lineup and the community. There are SO many phenomenal LGBTQ+ artists on this year’s lineup. And I’m so excited to bring the community together again in a way that supports queer music, artists, and organizations. I’m really looking forward to soaking up that energy.
Are there particular artists on the lineup you’re excited to have this year? Who are some of the artists and bands you think the QF audience will be most excited to discover?
I’m honestly excited for the lineup as a whole. As a songwriter and musician myself, I’m very particular about the artists and bands that I chose to book. If I had to choose one stand out band, it’d be The Collection. Their live show has this electric live energy and they also just seem so genuine. I’m stoked to be booking them. I love highlighting great music all around – regardless of how big the artist is. Sydnee Conley and Dani-Rae Clark are two up-and-coming artists who might not be as well known and their music blows me away. And Great Aunt who is coming all the way from Australia!
Liv Greene (center) performs with Jobi Riccio (right) and Christine Wilhoyte (left) at Queerfest 2022
How would you describe the growing and blossoming queer music scene in Nashville, and more broadly, in the music industry as a whole?
What an interesting question. There’s been so much growth and acceptance within the industry. I’m always blown away by how many phenomenal queer artists there are in Nashville. The industry as a whole is definitely seeing more artists come out.
It’s actually incredible to talk to artists who are a few generations older about that growth. I’ve heard stories from artists who were kicked off their label after coming out. Unfortunately, there’s a lot of history of that sort. But it’s been so incredible to build spaces, highlight queer music, and watch the industry become more inclusive in many ways.
Why do you think it’s so important to create and hold spaces like Queerfest for LGBTQ+ musicians, artists, and fans?
I decided to start Queerfest because of a personal need. I couldn’t find community spaces. And I was surprised that there weren’t places highlighting queer artists. And yet I noticed that there are SO MANY phenomenal queer artists, and so many queer people in general looking for inclusive spaces.
Queerfest and BGS have partnered on a column, Out Now, which was also created to hold space for LGBTQ+ folks in music. Who is on your wishlist to interview for Out Now? Is there anyone you dream of booking on a future Queerfest?
Oooh! I am so excited that we started Out Now! I’d love to interview Katie Pruitt and Joy Oladokun. Oh, and she’s definitely more in the popular music genre, but it’d be amazing to feature Fletcher one day.
And there are so many other artists: Becca Mancari, Jaime Wyatt, Shelly Fairchild, Palmyra, Aaron Lee Tasjan, SistaStrings, Leith Ross, Corook, Shelly Fairchild, Olive Klug.
And these artists who played the 2021 virtual festival: Mary Gauthier, Jaime Harris, The Accidentals, Izzy Heltai.
I’d love to have all of these acts both in-person and on Out Now!
Carmen Dianne (right) performs with band at Queerfest 2022
Do you have any advice for queer folks out there trying to find community and belonging in Nashville and in music?
Come to Queerfest!! But also, there are a lot of pockets of queer community/events/organizations popping up. Check out Outdoorsy Queers – I founded this community group with friends. We host hikes, climbs, park days, roller skating hangs, and more!
Other ways to connect with queer community in Nashville:
It was just announced that hundreds of thousands of Teamsters driving for shipping and logistics company UPS will avert a strike after their negotiations came through, but even so, dozens of strike authorization votes are happening all across the U.S. as workers the world over watch WGA and SAG-AFTRA strikes, Amazon and Starbucks unionization drives, and smaller pickets like that at dinner theater Medieval Times. Union membership and public opinions toward unions are at highs not seen since the ’60s, and millennial and Gen-Z workers are joining unions, striking, and picketing at astronomical rates.
It’s important to remember that, although bluegrass in its modern iteration can often feel staunchly conservative, militantly patriotic, and delusionally nostalgic for “old-fashioned values,” it’s a genre that was born from the creativity of working class and impoverished Southerners, Appalachians, and immigrants – and it has always had a pro-worker, leftward bent. Singers, pickers, songwriters, and performers like Hazel Dickens, Ola Belle Reed, the Country Gentlemen, the Johnson Mountain Boys, Mac Wiseman, Earl Scruggs, and so many more were ardent supporters of the working class and hostile towards corporations, mines, and management. There are truly countless, never ending pro-worker, pro-labor songs to choose from in the bluegrass, old-time, and roots-music canon.
Bluegrass and old-time music, though entangled in a dense constellation of roots music and occupying space adjacent to folk music and the folk revival, were anti-corporate greed since before they had names, before Pete Seeger, before the folk revival itself. That legacy is important to place at the very center of bluegrass, a genre of music that was born out of industrialization (see also: Industrial Strength Bluegrass) as mountain folk, Appalachians, and Southerners migrated out of their rural homeplaces to urban industrial centers. Bluegrass was born from radio stations, railroads, from company towns and workers’ barracks. Whether rubber or auto plants in Ohio and Michigan, factories in Chicago, cotton mills and tobacco warehouses in North Carolina, or anywhere else in the region, as poor folks bled out of their ancestral homes to find work and upward mobility, they brought their music and their community mindsets. As bell hooks puts it in Belonging: A Culture of Place, the mountains and rural spaces are where mutual aid and anarchy are concrete, everyday practices, not just philosophies or concepts.
With those people and their music came a penchant for workers’ and labor rights, suspicion of management and company stores and towns, and a vehement, righteous anger at the injustices suffered by working class Southerners no matter where they migrated. It’s easy to find pro-Union songs, songs in support of workers’ health and agency, lyrics that espouse conservation and environmentalism in old-time, bluegrass, and string-band traditions. So easy, in fact, we quickly amassed a 4+ hour playlist featuring some of our favorite songs (bluegrass and beyond) for marching the picket line, raising a fist, and redistributing the power – and wealth – back to the world’s 99%.
Scroll to find the full playlist of Bluegrass & Roots Songs to Strike To. Below, enjoy a few selections from the list.
“In Tall Buildings” – John Hartford
John Hartford describes the doldrums of daily work as almost no one else can. (John Prine gets close with, “How the hell can a person/ Go to work in the mornin’/ And come home in the evenin’/ And have nothing to say?”) At the end of our 30-some years working, what will we have to show for ourselves besides a suit, haircut, and no more life left to give to our “retirement?” Plus, as any career musician can tell you, planning a life around retirement isn’t exactly a good option to begin with.
“Ain’t Gonna Work Tomorrow” – Wilma Lee Cooper
Ain’t gonna work tomorrow, cause it’s STRIKING day! Wilma Lee Cooper will, at long last, join the Bluegrass Music Hall of Fame this September. A bluegrass forebear who saw broad commercial success before the genre had a name or an understood identity, she regularly landed tracks with decidedly bluegrass aesthetics on Billboard‘s early country charts.
“Lazy John” – Bruce Molsky
Under capitalism, laziness is a radical act! Be like Lazy John! If you’re working all week in the noon-day sun just for 16 cents, yes, it’s strike time.
“Cotton Mill Man” – Jim & Jesse
As we remember the life and legacy of Jesse McReynolds, who recently passed, it’s striking that although he and his brother Jim performed largely cover songs and tracks written by others, they were still able to express with great subtlety their own points of view through the material they chose. Like “Cotton Mill Man” and Prine’s “Paradise,” which was a hit for the duo, their catalog of recorded and performed material is dense with class awareness.
“Black Waters” – Jean Ritchie
A truly timeless classic that remains as relevant today as in the time of its writing, as clean water protections across the U.S. have been repeatedly gutted since 2016 – and before. Our country continues to show where its priorities are, beating down protests and demonstrations even as popular and supported as Standing Rock, in order to force us to acquiesce and give up protection of our waters. The lyrical hook is even more poignant to someone, like myself, living in Tennessee Valley Authority territory in the Tennessee River Valley – where coal ash and pollutants are still regularly dumped into our waterways. These tales, these experiences, are best told directly from their sources, as in Ritchie singing this song.
“Carpal Tunnel” – Tristan Scroggins
One can find many a recording of “Carpal Tunnel” from across the years, but mandolinist Tristan Scroggins, in his mid-twenties, pointedly places this track in the present, delivering the lament in stark a capella accompanied only by body percussion. He deftly ties the lyric to embodiment and agency and reminds all of us – especially in an age governed by devices causing carpal tunnel writ large – we’re all merely one injury away from bankruptcy. Musicians know this fear intimately, as many a livelihood has been threatened by tendonitis and carpal tunnel.
“Tear Down the Fences” – Ola Belle Reed
A perfect encapsulation of solidarity across our differences – differences constructed by the ruling class to keep us quibbling amongst ourselves while they amass their wealth. This sort of community awareness often feels like a pure byproduct of the internet’s version of globalization, but even a woman banjo player from a tiny town in rural Western North Carolina understood that “all we have is each other,” way back before the worldwide web. It feels obvious to state. It shouldn’t seem remarkable, except that we’ve accepted the narrative that such compassion and ideas couldn’t possibly be born from rural spaces or the South.
“Blue Collar Blues” – Joe Mullins & the Radio Ramblers
From the shop steward of Industrial Strength Bluegrass himself, Joe Mullins, a classic working-man-blues-style bluegrass number about that paycheck to paycheck life. An all-too-common reality for so many pickers! Though that might be more accurately described as blueGRASS collar blues.
“Dark as a Dungeon” – The Country Gentlemen
Bluegrass mining songs are just as iconic in the bluegrass songbook as train songs, cheatin’ songs, murder ballads, and singing about moonshine. This version of “Dark as a Dungeon” by the Country Gentlemen is one of the best examples of the form – many of which made it onto our full playlist.
There are so many more bluegrass, old-time, string band, folk, and Americana songs for striking. Check out our full playlist below and let us know: What is your favorite pro-worker roots song?
Playlist selections by Justin Hiltner, Shelby Williamson, Jon Weisberger, and Amy Reitnouer Jacobs.
Photo Credit: By John Vachon in 1938. “Untitled photo, possibly related to picket line at the King Farm strike. Near Morrisville, Pennsylvania.” Courtesy of the Library of Congress.
Artist:Martin Simpson & Thomm Jutz Hometown: Sheffield, England & Nashville, TN Song: “Come All You Fair And Tender Ladies” (featuring Cara Dillon) Album:Nothing But Green Willow: The Songs Of Mary Sands And Jane Gentry Release Date: September 29, 2023 Label: Topic Records
In Their Words: “‘Come All You Fair And Tender Ladies’ is one of the most hauntingly beautiful songs that I know. It is one of the better-known songs from the Sharp collection that is still sung on both sides of the Atlantic. Depending on where it is sung and by whom, different shades of meaning are illuminated – only a truly great song has this quality. We ran through this song twice in Cara’s kitchen, then headed upstairs to her studio and recorded it in one take. I have been a fan of Cara’s singing for a long time. Playing this song with her and Martin Simpson, one of the greatest guitarists on the planet, has been a highlight of my musical life.” – Thomm Jutz
“I’ve long considered that ‘Come All You Fair And Tender Ladies’ was one of the brightest jewels of Anglo-American folk songs. It has a bitter lyrical intensity and an exquisite and poignant melody which serves it so well. This setting and performance was the work of no time in recording terms, but it is three lifetimes worth of musical and personal experience, which allowed it to be captured with such ease. I loved working with Thomm on Nothing But Green Willow, and Cara Dillon is simply one of the finest singers of traditional song, as she demonstrates here.” – Martin Simpson
Artist:Larry & Joe Hometown: Durham, North Carolina Song: “Linda Barinas”
In Their Words: “’Linda Barinas’ is a song so well known that most Venezuelans can sing along.
“Eladio Ramón Tarife composed ‘Linda Barinas’ to honor his homeland, Barinas. It’s part of the Llano region and where this style of music, llanera, originated.
“The typical música llanera rendition would include harp, cuatro, maracas, bass and vocals, which makes our harp and banjo version quite unorthodox. Nonetheless, many Venezuelan traditional musicians have taken note of how seamlessly the five-string banjo melds with their instrumentation.
“Though Venezuela and Appalachia are thousands of miles apart, our folk traditions aren’t so different, and the sounds of our strings come together like old friends. Who would’ve thought?” – Joe Troop
Rissi Palmer and Miko Marks have been laying the foundation for country musicians and fans who are Black for almost 20 years. Back in the early 2000s, both experienced the trials and tribulations of being Black women in country. Despite their successes and large growing fanbase, they were separately discouraged by the ceilings and roadblocks they encountered from the white-dominated industry. Even though they each nearly quit music, they discovered a deep and meaningful ally and friend in each other. Now, they are back in the spotlight in a different era that has seen a rise of Black musicians – and The Black Opry in Nashville. Recently, Rissi and Miko have been touring together and we got them both on the show to talk about their parallel experiences, their friendship, and what they’ve been up to recently. It was a sincere honor and a blast to speak with these inspiring women.
This month The Bluegrass Situation is highlighting The Black Opry as Artist of the Month. Basic Folk, a part of The Bluegrass Situation Podcast Network, is proud to present this episode in collaboration with our BGS motherhost.
Artist:Elias Alexander, Maura Shawn Scanlin, Ramblxr Hometown: Portland, OR Song: “Wildflower” Album:Wildflower (single) Release Date: June 1, 2023 (single); June 7, 2023 (video)
In Their Words: “‘Wildflower’ combines a fiddle tune with a lo-fi disco groove to take the listener on a journey through a field of wildflowers to a sunset dance party with friends. I’ve always loved the presence and emotionality that Maura brings to her fiddle playing. When she sent me this newly composed reel that she had written within the bagpipe scale, I took a lot of time to listen to the tune and tease out the corners of the melody. Like many tunes in the bagpipe scale, the tonality could be interpreted a number of different ways, but as I played around with it, I found this sort-of disco counter melody emerging.
“During the lockdowns of 2020 and 2021 I became obsessed with music production, in the way that term is used in pop and hip-hop (i.e. beatmaking), and I’ve been most drawn to the kind of lo-fi groovy bedroom pop sounds of artists like Clairo or Dominic Fike.
“Electronic drum beats, synths, and other pop production techniques are often eschewed in folk and traditional music, but I think it’s time we re-evaluate that. These tools are technology, in the same way that the violin is technology, and they all serve as tools for expression of the human spirit. I started my project ‘Ramblxr’ as a way to bridge the two worlds of acoustic traditional music and electronics, with the goal of staying true to my musical roots, taste, and evolving sensibilities.
“Maura laid down some beautiful strings, and we both hummed the countermelody to bring the track to a climax that feels like a sunset dance party with friends in a field of wildflowers in early June. I hope you enjoy the ride!” – Elias Alexander
Photo Credit: Elias Alexander by Anna Colliton; Maura Shawn Scanlin by Louise Bichan.
Ever since I started making music, it’s been in this sort of folk-infused soundtrack sort of style. When I was little, I would imagine that I was in a film constantly. I would hear music in my head supporting the emotions I may be feeling. It sort of helped me express my feelings to myself and figure out what sort of character I want to be in this life. My brother is famous for his excellent mixtapes and he introduced me to most of my favorite contemporary artists, many of whom make music in this way; fusing together modern attitudes and techniques with personal impressions of roots music.
There’s something about traditional sounds that really resonate with me. I grew up in a rural place and spent my childhood playing the fiddle. Folk music has always been connected to nature and the sounds that go along with it. Nature is where I do my best self-reflection. The hypnotic rhythm of an acoustic guitar line repeated. The rich, molasses drones of the violin.
On my debut album Black Cloud, I intentionally challenged myself to produce in a more edgy, alt-rock style. However, I could not escape many of the musical sensibilities I grew up with. You can hear undertones of trad music in my guitar playing, in the song forms, vocal inflections, and choice of vocabulary. This playlist starts off with the first track on my new record and ends with a song from my folk duo with Emily Mann, Paper Wings. Both are songs I wrote and feel very close to my heart. The songs in between have all been inspirations to me over the years and demonstrate of the cinematic quality realized when folk techniques are fused into modern creations and vice-versa. Hope you enjoy. – Wila Frank
“Tonight” – Wila Frank
I wrote Tonight over a rolling guitar line inspired by traditional banjo techniques. While the rest of the production is quite contemporary, you can hear elements of folk influence in my singing. Especially in the line “It’s a long and lonesome road” — a reference to lyrics you would hear in a bluegrass song.
“Fire Snakes” – Laura Veirs
This has been a favorite song of mine forever. I love the beautiful and unusual contradiction of the acoustic guitar line with the artificial beat. To me, it makes the song feel more emotionally vital and critical. The strings at the end are a luscious bonus.
“Desert Island Disk” – Radiohead
This song reminds me of the trance-like quality of a lot of traditional Malian guitar playing such as Ali Farke Toure who I’m also obsessed with. The simplicity of the production on this song is essential and perfectly supports the beautiful message of the lyrics.
“Walkin’ Boss” – Sam Amidon
This is the only trad American folk song on the playlist. Sam Amidon has a really neat way of taking old Appalachian songs and bringing them into a new contemporary light. The rhythm of the banjo and drums together make you wanna groove and bring out the power of the lyrics.
“Psyche” – Massive Attack
I included this one because the repeating artificial guitar line reminds me of the banjo and is a cool example of the magic achieved when electronic artists sample natural sounds. This particular song was an essential inspiration for me in coming up with the guitar line on my song “Tonight.” When it comes to cinematic music and transporting the listener to a new world, you can’t get any better than Massive Attack.
“Imitosis” – Andrew Bird
I was obsessed with Andrew Bird when I was a kid for his witty lyrical style, use of the violin as a support instrument for his songs, and the unapologetic quirkiness of his music. On this album, he fuses all kinds of music and makes something completely unique.
“Ecstasy” – Crooked Still
I grew up going to a lot of music camps and owe much of my musical development to various members of Crooked Still. Aoife was one of the first singers I learned from and I was lucky enough to spend a lot of time around this music. I love this album in particular and how this song fuses Appalachian fiddle tones with classical string parts.
“The Weekend” – Dave Rawlings Machine
This song features pop chords, but has Dave Rawlings signature guitar style all over it. It’s a fun Americana-style story of a song. I like how the violin parts sound almost like they’re imitating synthetic strings. A cool example of folk music imitating pop music.
“Dog Walkers of the New Age” – Breathe Owl Breathe
One of my favorite albums ever. Completely unique and vibey. The lyrics are quirky and witty, and somehow get at an essential emotion of feeling less alone.
“Grizzly Man” – Rockettothesky
The shimmering acoustic guitar in this track brings this beautiful and spooky song to life. This is the only song I really know from this band, but the haunting, witchy vocal style in this song has stuck with me through the years and has an essence of woodsy appeal.
“Dyin Day” – Anaïs Mitchell
Anaïs Mitchell does a really nice job of innovating within the structure of a song itself. There are elements of traditional call and response in this song, religious references and images of nature, but somehow it still feels relevant and potent.
“Carrie & Lowell” – Sufjan Stevens
This was an incredibly influential album for a lot of people I think. Stevens’ swirling guitar style paired with the vocal effects and simplistic percussive elements make it feel like a pop song without any overly artificial elements. There’s even banjo on this song, but used almost like you would use an arpeggiated synth.
“Middle Distance Runner” – Sea Wolf
To me, this is a perfect pop song with a folk song structure. I love the natural guitar tones and the use of real sounds as percussion.
“The History of a Cheating Heart” – Damon Albarn
One of my favorite artists, producers, and songwriters of all time. Damon Albarn released this solo record in 2014 upon which he plays this song paired down with acoustic guitar. There’s very minimal production featuring dry and stark strings along with a chorus of harmonies on the bridge. It’s rare to hear such a minimal song recorded at such a high level and the result is beautiful.
“Clementine” – Paper Wings
I wrote Clementine on a writing retreat we went on in Big Sur. Emily and I spent the week sitting in the sun amongst the trees and flowers overlooking the ocean. This is really a simple pop love song, but we paired it down and sang it in harmony over fiddle drones. Arranged this way, it became stark and vulnerable and the essence of the song revealed itself. The imagery of nature became more vivid, and the emotions came across as more sincere.
Artist:David Sasso Hometown: Hamden, Connecticut Song: “Lecha Dodi” Album:Sasson v’Simcha: Selections from a Bluegrass Erev Shabbat Release Date: June 9, 2023
In Their Words: “Here’s a straight-ahead bluegrass setting of a 16th-century Hebrew poem that’s central to the Friday night Jewish liturgy. I’m a classically-trained composer who grew up in Bill Monroe’s stomping grounds of Indiana, but found bluegrass in Connecticut, where I work by day as a psychiatrist.
“Over the pandemic, I wrote original bluegrass songs to the traditional Hebrew prayers of the Friday evening Sabbath service. I recorded seven of the songs in February along with members of the Boston-based Jewish bluegrass band, Jacob’s Ladder, and premiered them live at my father’s retirement as rabbi in Indianapolis. My parents are both rabbis, and these texts have always been close to my heart. The title of the album, Sasson v’Simcha, is Hebrew for Joy and Delight.
“This song, ‘Lecha Dodi,’ (the ‘ch’ pronounced like in Bach) is the high point of the service known as Kabbalat Shabbat, a collection of Psalms and poems that get us in the spiritual mood to welcome the Sabbath. The chorus translates to ‘Come, my beloved, to greet the Bride; let us welcome the Sabbath presence.’ Bluegrass can often feel like a transformative and prayerful experience, so I think the mash-up works … no knowledge of bluegrass or Hebrew required!” – David Sasso
Photo Credit: Sean Casini
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