Country Pickers, Center Stage

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Double-, triple-, quadruple-threats are not uncommon in country music, not in the least. It’s a frequent occurrence, tripping over or into a country artist that’s a songwriter, vocalist, multi-instrumentalist, writer, thinker, and so much more. In fact, until more recent decades, wearing many hats was seen as a sort of prerequisite to making hillbilly music. After all, this is “just” country music, it’s got a wide and deep DIY tradition, and the folks who make it often have to also load in the gear, sell the merch, post on social media, and produce the albums, play the demos and scratch tracks, write the lyrics, and otherwise steer the creative ship.

Some of the most successful artists and most original voices in country music are perfect examples of how multifaceted skill sets translate directly to star power. You may not need to be a Telecaster shredder to make it onto the radio or you may not need to be able to pick like Mother Maybelle to make a living, but if you can back up your songs with mighty playing, it certainly translates with audiences.

From Chet Atkins, Dolly Parton, and Wanda Jackson to Charlie Daniels, Willie Nelson, and Bonnie Raitt, here are just a few legendary examples of hugely successful country artists who are or were excellent musicians and instrumentalists, too.

Chet Atkins

A record company executive, producer, and pioneer of the “Nashville Sound,” Chet Atkins was also a one-of-a-kind guitar picker, renowned across the globe for his unique style – which was inspired by Merle Travis. Atkins certainly made “Travis picking” his own, arguably eclipsing all of his predecessors and continuing to influence guitarists today. An inductee of the Country Music, Rock and Roll, and Musicians’ Halls of Fame, Atkins’ impact is hard to understate and his resume includes work with Dolly Parton, Elvis Presley, Hank Snow, Waylon Jennings, and countless others.

DeFord Bailey

One of the first superstars of the Grand Ole Opry, DeFord Bailey was a world-class harmonica player who was also the first Black performer on WSM’s fabled stage. Some sources also credit Bailey as being the first musician to record music in Nashville. However you approach his career and music, Bailey was a seismic presence in the earliest days of country. Born in 1899, Bailey faced constant racism, bigotry, and marginalization on the Opry, in Nashville, and as he traveled and performed. He passed away in 1982 and was posthumously inducted into the Country Music Hall of Fame in 2005.

Glen Campbell

Even at the highest heights of Glen Campbell’s superstardom, he refused to let his superlative instrumental skill take a backseat to his roles as frontman, songwriter, Hollywood actor, TV star, and tabloid veteran. Campbell’s approach to country music as a true multi-hyphenate celebrity bridged generations, connecting the hardscrabble, DIY generations where multiple skills were necessary to make a living to the modern era, where he helped pave a way for famously multi-talented picker/singer/writers like Vince Gill and Brad Paisley to not be pigeonholed as one thing or the other.

Ray Charles

Any conversation around or collection of superlative country pickers and musicians would be glaringly incomplete without the inclusion of Ray Charles. His incursions and experimentations in country music are many and infamous. His 1962 album, Modern Sounds in Country and Western Music is routinely listed as one of the best country albums of all time. He’s worked with and performed with Willie Nelson, Merle Haggard, Ricky Skaggs, Travis Tritt, Johnny Cash, Glen Campbell, and many, many more. Plus, his country forays demonstrate a deep, holistic understanding of the genre. Charles is a quintessential country multi-hyphenate and country-soul in the modern era would feel especially lacking without his seminal contributions to that tradition.

Charlie Daniels

It’s hard not to wonder what young, hippie, “long-haired,” Vietnam War-opposing fiddler Charlie Daniels would have thought of his older self, and his more harebrained and often hateful beliefs later in life. But the controversial and outspoken musician, at all points of his career, was a picker’s picker. Over the course of his life he performed and recorded with Earl Scruggs, Bob Dylan, Leonard Cohen, and many more. But his chief contribution to American roots music may just be his fiery, unhinged fiddling on “The Devil Went Down to Georgia.” Just wander down Lower Broadway in Nashville on any given Saturday night to feel the impact of that particular show-stopper. In this clip, he chats and performs “Uncle Pen” with Scruggs and Del McCoury.

Vince Gill

That buttery voice, that stank-face inducing chicken pickin’, that high, lonesome sound – Vince Gill is all at once country and bluegrass, Nashville and Oklahoma, western swing and old-time fiddle. Whether with The Eagles, preeminent pedal steel guitarist Paul Franklin, the Time Jumpers, or so many other outfits, bands, and iterations, Gill is simply right at home. Because, at his core, he’s just a picker. He may play arenas, but he knows he belongs at 3rd & Lindsley or the Station Inn. Or Bluegrass Nights at the Ryman. A quintessential picker-singer-frontman, Gill continues to define the myriad ways country stars can maintain their selfhood and personality – instrumentally and otherwise – even in their wild successes.

Merle Haggard

Speaking of chicken pickin’, country’s most famous Okie was a shredder, too. A sad song, a glass of (misery and) gin, a Telecaster, and the Hag – that’s all we need, right there. Merle’s playing style, even at its most technical and impressive, was simple and down to earth. You could tell he cut his teeth playing bars, fairs, and honky tonks. You could almost hear him pulling himself up by his bootstraps as he played.

Wanda Jackson

The Queen of Rockabilly has been slaying rock and roll, hillbilly music, and the guitar for more than seventy years. In 2021 she released her final album, Encore, when she was 84 years old. It features her signature passion and fire – and performances by Elle King, Joan Jett, Angaleena Presley, and more. Jackson has been representing the vital contributions of women to rockabilly and rock and roll for her entire career, just as often commanding the stage with her growly, entrancing voice and her powerful right hand.

Willie Nelson

Who would Willie Nelson be without Trigger? Without a tasty, less-is-more, nylon-string guitar solo? For decades, Nashville, Music Row, and guitar players around the world have been emulating his particular sound as a guitarist – whether they know it or not. Sure, he’s a hit songwriter, a star and front-person, a collaborator of Snoop Dogg and Frank Sinatra, and a connoisseur of fine bud, but perhaps more than all of these accomplishments, Willie is an impeccable picker. He can hold his own with the best of the best, because he is the best of the best.

Brad Paisley

Brad Paisley’s fame crested at perhaps the perfect time for him in country music, combining a rip-roarin’ guitar playing style with a sound that was entirely trad while carrying touches of the bro country wave that was about to inundate the genre. As such, he was able to build a career on the diversity of his skill set, before Music Row and the power behind it began prioritizing music that didn’t need to be musical and voices that didn’t need to be singular. Luckily, Paisley is both those things and more, and despite the many eyebrow raising moments across his career, our faces more often show shock at his mind-bending skill as a guitarist than anything else.

Dolly Parton

How is it that Dolly Parton can play so many instruments so impeccably with those iconic acrylic nails!? Nowadays, you are just as likely to hear Dolly performing to a track – yes, she does lip sync and pantomime playing along with recordings – but don’t get it twisted, she absolutely can play a passel of instruments from her beloved “mountain music” traditions. She plays guitar, banjo, auto-harp, dulcimer, and has even been known to pick up a bedazzled saxophone from time to time – though we can’t guarantee she actually knows how to play that one, we’re still blown away.

And what about thatone viral video with Patti LaBellewhere they play their acrylics like washboards? Dolly can make music with just about any instrument.

Bonnie Raitt

How many people do you think enjoy Bonnie Raitt’s soulful blues and Southern rock sounds without knowing she’s also often the one playing the guitar solos and making that bottleneck slide weep? Raitt is a Grammy winning songwriter, a fantastic vocalist and song interpreter/collector, and – above all, in this writer’s opinion – a superb guitar picker, especially playing slide. She can hold her own with just about anyone, and she has. Her phrasing and use of melodic space demonstrates that she’s been honing her craft for her entire life. That taste can’t be taught, it has to be found. Boy, has she found it.

Marty Stuart

Marty Stuart’s long, fabulous, superlative career began with him filling the role of sideman for such luminaries as Lester Flatt, Johnny Cash, Vassar Clements, and Doc Watson. He plays guitar and mandolin, working up his chops as a youngster with pickers like Roland White as his mentors. When his solo career took off after his Columbia debut in the mid-eighties, his ear for fine picking remained present throughout his music – however far afield from those early bluegrass and country days he may have traveled, stylistically. Whether bringing in psychedelic surf sounds or Indigenous flavors of the American West, Stuart’s catalog of music centers virtuosity that’s never gratuitous. And his band, the Fabulous Superlatives, featuring crack guitarist Kenny Vaughan and multi-instrumentalist Chris Scruggs, represent a high level of picking prowess, too.

Tedeschi Trucks Band

By many measures, Derek Trucks is the world’s foremost living slide guitarist, but don’t overlook powerhouse vocalist and co-band leader, Susan Tedeschi in order to venerate Trucks! Both started playing as youngsters – Trucks when he was a kid and Tedeschi when she attended Berklee College of Music. These two are guitar and blues royalty, helming one of the most impactful modern blues and Southern rock orchestras on the planet. They’re consummate musicians, knowing just how to surround themselves by players who support and challenge, both. Even with their laundry list of personal accomplishments, together, Tedeschi & Trucks – who are also married – are so much greater than the sum of their parts.

Keith Urban

Keith Urban brings a scruffy, down to earth guitar playing style to his polished and glam mainstream country sound. Yes, even as far away as Australia, having instrumental chops means having country currency. When he moved to Nashville in the early ‘90s, with a few Australian radio hits and awards under his belt, he immediately found work as a side musician and co-writer in Music City. It wasn’t long until his star ascended stateside, too – and then, as quickly, around the world – bolstered by arena-ready guitar. Now readying his first album since 2020, Urban shows no signs of slowing down, with the music or the picking!


Photo of Glen Campbell courtesy of the artist.

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Cayamo 2024: A Behind the Scenes BGS Photo Diary

BGS’s third year on board Cayamo’s Journey Through Song brought no shortage of familiar faces and “fun in the sun” vibes.

From a jam-tastic BGS Nightcap set lead by our pals Mipso – which included appearances from Hiss Golden Messenger, Dom Flemons, Lizzie No, Rachael Price of Lake Street Dive, and Taylor Ashton – to live podcast tapings with Basic Folk hosts Cindy Howes and Lizzie No. There was our exclusive wine tasting experience hosted by myself and Mipso’s Jacob Sharp (who moonlights as a wine rep for Terrestrial Wines). There were stopovers in Aruba and the Dominican Republic and countless musical sets from the likes of Lyle Lovett, Lake Street Dive, Rodney Crowell, Shawn Colvin, the Black Opry, Waxahatchee, and so many more! Our eight days on the high seas went by way too fast.

Our team documented the whole thing (on our new Camp Snap screen-free digital camera!) so you, too, can soak up the sunshine and memories. Will you join us on board next year? The 2025 lineup was just announced and suffice to say we’ve already got some great things cooking for Cayamoans. But hurry, because this is one fest that sells out faster than you can say piña colada… – Amy Reitnouer Jacobs, BGS executive director

Booking information and more details available at Cayamo.com


All photos by Amy Reitnouer Jacobs shot on Camp Snap.

Meet the Lineup of This Year’s Edition of Fort Worth’s FWAAMFest

The fourth annual edition of the Fort Worth African American Roots Music Festival (AKA FWAAMFest) will take place this weekend, on Saturday, March 16, at Southside Preservation Hall in Fort Worth, Texas. BGS has been proud to support and sponsor this quickly up-and-coming event over the past few years and 2024’s edition of the all-day festival will be the biggest FWAAMFest yet.

The festival has a mission of centering the vital and transformative contributions of Black and African-American folks to American roots music. Though their purview at first glance may seem “niche,” this is a concept that is as broad and expansive as it is pointed and specific. Festival organizer, Decolonizing the Music Room founding director Brandi Waller-Pace – a regular contributor to and collaborator of BGS – goes out of her way each year to demonstrate Black music, Black artists, and Black stories are not monoliths. Each year’s lineup is carefully curated to show FWAAMFest audience members the depth and breadth of Black musical traditions, not only in Fort Worth but around the country.

Tickets for the event are competitively priced ($50 general admission, $30 for students, with discounts for educators and children) and are truly an excellent value. Where else under one roof can you enjoy workshops, partake in Oakland Public Conservatory of Music’s Black Banjo & Fiddle Fellowship, dine on excellent barbeque and soul food, and hear sets from Jerron Paxton, Lizzie No, Crys Matthews, Joy Clark, Jontavious Willis, Corey Harris, Piedmont Bluz Acoustic Duo, Spice Cake Blues, Lilli Lewis, EJ Mathews, Stephanie Anne Johnson, Patrice Strahan, and Darcy Ford-James?

Below, take some time to familiarize yourself with this year’s FWAAMFest lineup while you make your plans to join Fort Worth at Southside Preservation hall this Saturday for an incomparable day filled with music, history, fellowship, and community building.

Jerron Paxton

Well known to BGS, Jerron Paxton – who you may know as “Blind Boy” Paxton – is a blues, old-time, and ragtime musician adept on many instruments, from piano to banjo to harmonica and beyond. Paxton was on BGS’s Shout & Shine Online lineup in 2020, a virtual showcase also curated by Brandi Waller-Pace. We’ve spoken to Paxton a few times about his incredible, timeless sound – and how he doesn’t view his music as coming from the past, but being rooted in the present. With his material and storytelling, he demonstrates how all of these American roots genres are so closely intertwined.

Lizzie No

Lizzie No’s new album, Halfsies, is certainly one of the best releases of the year. An Americana and country singer-songwriter and multi-instrumentalist, No has a perspective that’s effortlessly modern while steeped in country traditions of the ’80s, ’90s, and 2000s. There’s introspective indie touches, pop infusions, and an end result that’s truly singular. Her music has plenty to sink your teeth into, and we go back to it time and time again.

Check out a recent GOOD COUNTRY feature about feminine country that highlights No and Halfsies and take some time to discover why our co-founder, Ed Helms, highly recommends her music via Ed’s Picks. Oh, and did we mention No co-hosts a BGS podcast, Basic Folk, too? An entire multi-hyphenate, right here!

Corey Harris

Corey Harris is a blues musician who has busked the streets of New Orleans, lived in Cameroon and West Africa, collaborated with Taj Mahal, and garnered millions of streams. His is an old-fashioned sound, but without essentialism or facing backwards. The lead single and title track from his upcoming album, Chicken Man, is out now – watch for the full record later this month. Based in Charlottesville, Virginia, don’t miss your opportunity to see this world-traveling blues picker and singer in Fort Worth.

Piedmont Bluz Acoustic Duo

Valerie and Benedict Turner are Piedmont Bluz Acoustic Duo, inductees of the New York Blues Hall of Fame. They’re committed to bringing “awareness to these unique aspects of African-American culture,” especially Piedmont style fingerpicking, washboard, and what they (rightly) call “country blues.” They’ve traveled all around the world playing Piedmont blues and they’re especially adept at preserving songs and sounds from artists like Mississippi John Hurt, Etta Baker, and Libba Cotten while showing how important their music is in modern contexts – in the present moment.

Crys Matthews

Singer-songwriter-picker Crys Matthews is another FWAAMFest 2024 artist that’s a well known name to BGS readers. An activist in songwriter form, Matthews writes pointed, sharp, and compassionate protest music that’s never saccharine or blinders-on, a rare feat in folk music. She also has a guitar playing style all her own – playing left handed, with the guitar upside down, she also reminds of musicians like Elizabeth Cotten. But still, what listeners take away from her joyful and encouraging sets, filled to bursting with solidarity, is an understanding that what Matthews does with her music is an art form all her own. Check out a BGS fan favorite from 2023, Matthews’ collaboration with Heather Mae and Melody Walker on a rousing community-minded number, “Room.”

Jontavious Willis

Grammy nominee Jontavious Willis was born and raised in rural Georgia and his childhood was filled with gospel music and connections to deep cultural traditions. As a teenager, he discovered Muddy Waters and the blues; it wasn’t long ’til he was sharing stages with Taj Mahal, Keb’ Mo’, and so many of his heroes and forebears. (Mahal called him “Wonderboy,” a certainly fitting and worthy title!) Willis makes music with a huge scope and limitless lifespan, but in that same DIY, hard-scrabble, down to earth way so highly valued in the blues. In 2018, he won the Blues Foundation’s International Blues Challenge Award for Best Self-Produced CD, and his 2019 follow up, Spectacular Class, garnered his Grammy nomination and millions of streams on digital platforms.

Joy Clark

Guitarist Joy Clark is rapidly on the rise – and deservedly so! She tours and performs with the Black Opry Revue, with Allison Russell’s Rainbow Coalition, and as an incredibly accomplished solo picker-singer-songwriter. Just last month, she wowed the Folk Alliance International audience at the International Folk Music Awards with her tribute to Tracy Chapman, showing the intuitive and intentional connections between Clark and queer, Black guitarists, musicians, and songwriters who came before her. The most remarkable thing about Clark’s music, though, is not that it reminds of other musicians and artists – even when it does. Instead, it’s impossible to deny that Clark has a voice on the guitar that is all her own and she’s on a steady march to bring that voice to the world. Thank goodness!

Spice Cake Blues

FWAAMFest has it all, from internationally known artists to insider favorites to gem-like discoveries, like duo Spice Cake Blues. A new introduction to BGS and our readers, Spice Cake features Miles Spicer and Jael Patterson and they are based out of Maryland. Spicer is a co-founder of the Archie Edwards Blues Heritage Foundation and an accomplished Piedmont (and multi-style) guitar picker. Jael, who also goes by Yaya, is a powerful and soulful singer. Spicer also performs with Jackie Merritt and Resa Gibbs in the M.S.G. Acoustic Blues Trio. (M.S.G. = Merritt, Spicer, Gibbs.)

Lilli Lewis

You may know her as “Folk Rock Diva,” Lilli Lewis is a powerhouse vocalist, pianist, songwriter, former record label runner, and forever community builder. Her shows are entrancing, like a combination of Wednesday-night church and a New Orleans Saturday night. Lewis is prolific and critically-acclaimed, and something of a genre and context shapeshifter, unifying the many sounds and styles she inhabits with her heartfelt stories and encouraging words of insight. Her latest album, All is Forgiven, was released in December 2023. Don’t miss her cover of Radiohead’s “Creep,” though, too – there’s a reason it’s so often requested at her concerts!

EJ Mathews

EJ Mathews was born and raised in Atlanta… Texas. A small town near the Arkansas border, Mathews grew up listening to the music of his grandpa – an even mix of country and blues. As such, his sound infuses as much modern blues as country, southern rock, and gospel, with infinite feel and groove. His 2020 single, “Smokin’ & Drankin'” shows so many of the styles he effortlessly combines. Now living in Dallas, Mathews will make the relatively short hike over to Fort Worth for FWAAMFest to bring his unique, melting-pot sound to Southside Preservation Hall.

Stephanie Anne Johnson

Stephanie Anne Johnson is a singer-songwriter and radio host based in the Pacific Northwest. Born and raised in Tacoma, they were already becoming a common sight in folk and Americana circles when they seemingly burst onto the national scene appearing on season five of NBC’s The Voice. Johnson is another FWAAMFest artist who was featured on the Shout & Shine Online lineup in 2020 curated by Waller-Pace. Criminally underrated in national folk, Americana, and indie circles, Johnson creates powerful music that brings love, mental health, togetherness, and redemption all under a compassionate lens – and with a remarkably grounded sensibility. Whether solo or with their band, the HiDogs, Stephanie Anne Johnson is an entrancing musician and songwriter. Don’t miss their 2023 album, Jewels.

You can see all these artists and so much more this weekend at FWAAMFest in Fort Worth! Get your tickets now.


Photos courtesy of FWAAMFest. L to R: Crys Matthews; Jerron Paxton; Lizzie No. 

You Gotta Hear This: New Music From the Bacon Brothers, Rachel Maxann, and More

This week, it feels a bit like musical spring has sprung, and new music is truly blossoming in our current edition of You Gotta Hear This – our once-weekly premiere round-up.

Below, you’ll find a new live performance video from the Bacon Brothers (Kevin Bacon and his brother, Michael), plus singer-songwriter Rachel Maxann has brought us a new track and video, “The Tides.” You’ll also enjoy songs from bluegrasser Darren Nicholson, southern rocker JD Clayton, a bespoke line dance from Buckstein, Rosy Nolan, string band Jake Leg, and a tribute to Mississippi John Hurt from the Tennessee Warblers. Don’t miss the latest edition in our Rootsy Summer Sessions series, too, featuring two original numbers by Jackson Scribner.

There’s so much good music to enjoy, You Gotta Hear This!

The Bacon Brothers, “Losing the Night”

Artist: The Bacon Brothers
Hometown: Philadelphia, Pennsylvania
Song: “Losing the Night”
Album: Ballad Of The Brothers
Release Date: April 19, 2024
Label: Forosoco Music / Forty Below Records

In Their Words: “Sitting down with our co-writer, Casey Beathard, took me back to the early ’70s when I was a staff writer at Combine Music: Set a date and time, drink a lot of coffee, and crank out a song. Songwriters rule in Nashville and always will. Casey’s the top of the top. If you can listen to ‘Boys of Fall’ with a dry eye, then ‘Mister, you’re a better man than I…’ (Yardbirds.)” – Michael Bacon

“Yeah, writing with Casey was great. When we were cutting vocals, I kept returning to the recording we made on my phone as we wrote the song because I wanted to sing it like he did. The autoharp idea just came together at the last minute, but I think it’s pretty cool.” – Kevin Bacon

Video Credit: Bradley Wagner
Audio Engineer: Juan Soria


Rachel Maxann, “The Tides”

Artist: Rachel Maxann
Hometown: Memphis, Tennessee
Song: “The Tides”
Release Date: March 4, 2024

In Their Words: “‘The Tides’ is a soulful, folk love song that beautifully captures the ebb and flow of emotions in a relationship. With poetic lyrics and melodic acoustic arrangements, this heartfelt ballad explores the depth of love, drawing parallels to the rhythmic patterns of the tides. Each verse unveils a tale of connection, mirroring the gentle waves that bind two hearts together.” – Rachel Maxann


Buckstein, “Addicted to Love”

Artist: Buckstein
Hometown: Denver, Colorado
Song: “Addicted to Love”
Release Date: March 8, 2024
Label: Rock Ridge Music

In Their Words: “When my producer brought this classic to me, I just assumed we’d be doing it for fun, never to be released. Robert Palmer is a TOUGH act to follow. Leave it to a damn good producer like Mr. E to bring out of the best in me. When he played me the rough cut, I got incredibly excited about where it was going. The production on our ‘Addicted to Love’ is some of my favorite I ever sang to, and I hope people consider it a fond tip of the hat to the late Mr. Palmer. He was a legend, and this song is timeless. Thank you for listening. I hope it’s as much fun for you as it was for us.

“P.S. We have a line dance. Check it out in the video while you listen (and there are dance instructions at the end of the video).” – Buckstein


Rosy Nolan, “One of Your Songs”

Artist: Rosy Nolan
Hometown: Los Angeles via San Francisco, California
Song: “One of Your Songs”
Release Date: March 15, 2024 (single)
Label: Blackbird Record Label

In Their Words: “‘One of Your Songs’ is a two-tempo song about a woman strung along by a two-timing man. In the first chorus, she protests, ‘Don’t play me like one of your songs,’ only to surprise him later when he becomes one of her songs.

“I was looking to write a song that oscillated between a high energy old-time tune and a traditional country two-step. I wanted the song’s tempo to reflect the extreme highs and lows of a tumultuous relationship.

“My dear friend, Dave, from Grand Ole Country Bunker suggested I shoot my music video at Sassafras Saloon, a bayou-themed bar in the heart of Hollywood. He produces widely-attended country showcases at the venue. It’s New Orleans meets Old West and contains an entire Savannah townhouse inside the bar. The townhouse was shipped out from Georgia and reassembled inside the venue. Word is that it’s haunted by several spirits. It was the perfect backdrop for the video, equipped with a balcony stage, old time relics, and a rotating bottle conveyer belt.

“Our friends, The Cowpokes from Nashville, performed that evening and they graciously allowed us to shoot the crowd shots during their performance. After a 10 hour shoot day, we were fortunate to have a lot of footage to work with.

“Jack Hackett and his crew were fantastic. I used to act when I was younger so it was a thrill to put the guitar down for a bit and get into character. Fellow cast members, Levi Petree and Frankie Lawson, made it easy and fun.” – Rosy Nolan


Darren Nicholson, “Ain’t No Sin”

Artist: Darren Nicholson
Hometown: Canton, North Carolina
Song: “Ain’t No Sin”
Release Date: March 8, 2024
Label: Mountain Home Music Company

In Their Words: “This is our raucous, tongue-in-cheek story of mountain folk separating sin from survival. I wrote this with Charles Humphrey III, and it’s even more ironic as I’m currently several years into sobriety myself. It is a fictional tale of people (The Baker Boys) who did what they had to do to provide for their families and communities. The moonshiner way of life was embraced and woven into so many rural circles. Heck, my dad made illegal whiskey to survive; and he made it for everyone from the grannies to the politicians to the preachers. In many cases, the quality of liquor and how it benefited both producer and consumer, was a point of pride for certain areas. What many people fail to realize is, historically, corn liquor production was a way for people to earn a living when times were hard, like during the Great Depression. Early on, it wasn’t a hobby so much as a way to supplement one’s income as a necessity.

“Where the ‘sin’ part comes into play is when one can acknowledge that whiskey by itself is not a sin, but rather the overindulgence or the behaviors resulting from too much to drink, which are viewed as sinful. This song speaks to the ones who find it most sinful; the ones who can’t control the distribution of it or profit from it. I hope all who listen have fun with this track. That’s the intention!” – Darren Nicholson


JD Clayton, “High Hopes & Low Expectations”

Artist: JD Clayton
Hometown: Fort Smith, Arkansas
Song: “High Hopes & Low Expectations”

In Their Words: “‘High Hopes & Low Expectations’ tells a story about a young man who is searching for his better self and greener pastures. He finally has a chance and enough money to leave town for the big city, leaving behind his home and family. He meets an older gentleman that gives him a bit of free advice: ‘Live with High Hopes & Low Expectations.’ The perspective changes halfway through the song. The young man grows old and tells the listener that the old man who gave him advice long ago was right. Go live and live well with high hopes and low expectations. Life won’t always work out right but you’ll be able to sleep well at night.

“This is really a song to myself. It makes me think of leaving Arkansas for Nashville to make it in music. I love the song so much. I wanted the song to feel like a blend of James Taylor and Elton John. I think we got close. It tells a really cool story and I especially love the word choices in the lyrics. ‘Ferry ride for western skies,’ ‘Whiskey wisdoms poured over ice,’ ‘It feels like dark chocolate, honey butter, and hot coals in a cast iron stove in a library.’ Come on!! I cowrote the song with Kendell Marvel. He has become such a good friend and has been so kind to me as I have started my career. I think of myself as the young man in this song and Kendell as the older man giving me this sage advice. It felt like we were living out the song literally as we penned it. I am still learning to live everyday with ‘High Hopes & Low Expectations.'” – JD Clayton


The Tennessee Warblers, “Louis Collins”

Artist: The Tennessee Warblers
Hometown: Nashville, Tennessee
Song: “Louis Collins”
Release Date: March 8, 2024 (Mississippi John Hurt’s Birthday)

In Their Words: “We’ve been warblin’ this mournfully beautiful murder ballad for a number of years and thought it would be fun to release it in celebration of Mississippi John Hurt’s birthday. First recorded in 1928, the tune has become one of Hurt’s most popular and enduring numbers. Perhaps the juxtaposition of melancholy melody and murder is the reason?

“In 2012, I went on a road trip with photographer, Michael Rooney, to trace the Mississippi Blues Trail. We recently regrouped to pore over the images in search of one to represent Louis Collins’ grave to which the ‘angels laid him away.’ Unfortunately, not long after we settled on the photograph we received news that John Hurt’s home and museum in Avalon, Mississippi had burned down.

“We’d like to urge folks to donate to the Mississippi John Hurt Foundation so that they may rebuild a museum celebrating John Hurt’s kind presence, songs and one of a kind guitar style that continues to entertain and inspire all these years later.” – Adam Dalton


Jake Leg, “Fire on the Prairie”

Artist: Jake Leg
Hometown: Lyons, Colorado
Song: “Fire on the Prairie”
Album: Fire on the Prairie
Release Date: March 8, 2024

In Their Words: “‘Fire on the Prairie’ is the title track of our upcoming debut full-length album and we loved the energy we captured in the studio so much that we made it the first track on the record. I wrote ‘Fire on the Prairie’ when I was reflecting on a story I’d heard about some individuals whose entire lives seemed to revolve around the coming of the apocalypse, in a way that was almost romanticized. I found myself thinking about how growing up in an environment like that might impact a person and how they relate to the world. It’s a somewhat ominous song, thematically, and we aimed to reflect that musically with the sonic landscape of the song having sort of a looming sense of something unknown lurching toward you. I think Eric’s vocal performance on this one fits the song perfectly and the band plays with a sense of urgency that really drives it home.” – Dylan McCarthy


Rootsy Summer Sessions: Jackson Scribner

Last summer, flanked by roadside flowers and backgrounded by a softly cooing dove, singer-songwriter Jackson Scribner graced the videographers from I Know We Should with two beautiful, original songs. It’s the latest installment of our Rootsy Summer Sessions series, shot at Rootsy Summer Fest ’23 in Falkenberg, Sweden on the banks of the Ätran.

Scribner, who was born and raised in rural Texas, first performed “Front Porch Rain,” a track from his 2021 self-titled album, with backing vocals by his brother and duo partner, Levi Scribner. Jackson’s voice is soft, but confident as he sings, “Though I see it now/ watch for the weather, wanted to kill it to stay/ it’s a front porch rain…” a striking lyric beneath the summer Swedish sun. There’s certainly a familial quality to the harmonies, though Levi leaves plenty of breathing room, allowing Jackson’s lyrics to come forward.

Watch the entire session and read more here.


Photo Credit: The Bacon Brothers by Jacob Blinkenstaff; Rachel Maxann by Jamie Harmon, Amurica Photo.

Artist of the Month: Aoife O’Donovan

There’s a confidence and ease to Aoife O’Donovan‘s music making, brought forward throughout her career by her languid, tender, and emotive voice. Just as striking and crystalline as it is cozy and comforting, her voice is a truly iconic instrument in Americana, bluegrass, and new acoustic music. Still, as she readies her new solo album, All My Friends (out March 22 on Yep Roc), it feels as though O’Donovan is decidedly stepping into a new era of confidence and self-assuredness, devoid of any sense of desperation or flightiness or unfettered ambitions. There’s a steady, intentional march to the blossoming of her catalog and her artistry and it’s on full display on All My Friends.

The album was conceived as a sort of tribute to or reckoning with the cross-generational struggle for women’s rights, highlighting the passage of the 19th Amendment over 100 years ago and picking up that timeless mantle of ever-striding towards justice. It’s a perfect project to highlight during Women’s History Month; the intellectual and political messages within it are softened – though never outright whitewashed, revised, or sanitized – by O’Donovan’s perspective as a mother of a young daughter. With All My Friends, she is continuing her journey with another timeless tradition in string band music: the role of mother-activist-songwriter-composer.

One of the record’s lead singles, “Daughters,” was heralded in a press releases as “a meditation on the eternal quest for women’s rights and equality.” Meditative qualities might be the most tangible and original through line of O’Donovan’s songwriting, song collection, composition, and her vocal affectations – from as far back as her days with Crooked Still, or evidenced by the songs she brought to her supergroup trio, I’m With Her, with Sara Watkins and Sarah Jarosz. As on “Daughters,” O’Donovan more often than not opts for quiet-and-impassioned, subdued-while-soaring vocals. She’ll wrap you in the gauze and glitter of her one of a kind voice and, in doing so, prepare you ever so gently and kindly to receive the messages in her lyrics – however demonstrative or abstract they may be.

O’Donovan’s latest era of confidence is also well marked by her vast and varied resume of musical collaborations. Besides Crooked Still and I’m With Her, she’s released music with Goat Rodeo (Stuart Duncan, Yo-Yo Ma, Edgar Meyer, Chris Thile), Noam Pikelny, the Milk Carton Kids, Taylor Ashton, Donovan Woods, and so many more. In more recent months and years, she’s featured Allison Russell on a track (on 2022’s Age of Apathy), collaborated with mind-boggling guitarist Yasmin Williams and step-dancer Nic Gareiss on a stunning number entitled “Dawning,” and even “came back” to straight ahead bluegrass with a recent single feature on a Becky Buller track, “Jubilee.”

Her output is ceaseless, her art is prolific, but here – as in the new album, and across her discography – the hallmark of O’Donovan’s work isn’t volume, but intention. This is not breakneck, music industry ladder climbing, this is an artist deliberately expanding the universe of her music bit by bit, voice by voice, collaboration by collaboration. It’s part of why she’s such an effective voice and influence in control rooms, too. (Though her production credits are relatively few, they are mighty.) And it’s part of why, as you scroll through our Essential Aoife O’Donovan playlist, you’ll find as many surprising and eyebrow-raising selections as you will her mighty, familiar modern classics.

All My Friends – with appearances by The Knights, The Westerlies, Anaïs Mitchell, Sierra Hull, Pikelny, and more – is yet another demonstration of O’Donovan’s community, her central role within it, and her confidence in inhabiting that role wholly and completely. This is meditation without stagnation, orchestration without machinations, softness and tenderness, but with a steel spine. These are challenges to the status quo while knowing real progress is made with one foot placed in front of the other – and with many other footsteps following her own.

Throughout the month of March, as we highlight Women’s History Month, we’ll be celebrating the new album, All My Friends, and Aoife O’Donovan as our Artist of the Month. Stay tuned for a special “In Conversation” Artist of the Month feature to come later in March featuring an amazing artist and collaborator of O’Donovan, and we’ll also be dipping back into the BGS archives to resurface so many amazing songs, videos, articles, and stories that highlight the incredible music of Aoife O’Donovan.


Photo Credit: Sasha Israel

You Gotta Hear This: New Music from Louise Bichan, Alaina Stacey, and More

This week, BGS readers enjoyed two brand new, exclusive sessions – one from our friends at Yamaha Guitars featuring JigJam guitarist Jamie McKeogh and the other featuring songwriter/filmmaker Scott Ballew, direct from last summer’s Rootsy Summer Fest in Falkenberg, Sweden.

But that’s not all, we also have a handful of excellent track premieres from songwriters and musicians like Louise Bichan, Alaina Stacey, and Lily Kershaw. It’s all right here on BGS and, honestly, You Gotta Hear This:


Louise Bichan, “Coldstream”

Artist: Louise Bichan
Hometown: Orkney, Scotland will always be home, but for now it’s Cornish, Maine
Song: “Coldstream”
Album: The Lost Summer
Release Date: March 4, 2024 (single); April 5, 2024 (album)
Label: Adhyâropa Records

In Their Words: “I wrote ‘Coldstream’ for my aunt and uncle and all of my cousins in Aberdeenshire, in the northeast of Scotland. Uncle Syd grew up playing the fiddle, but it was never cool at the time – he hid the fact that he did! Nowadays, he writes songs and plays a lot of tenor guitar, among other things, and it’s always a joy to visit Aberdeenshire and play a few tunes with him.” – Louise Bichan

Track Credits:
Louise Bichan – fiddle
Ethan Setiawan – mandolin
Brendan Hearn – cello
Conor Hearn – guitar
Produced, engineered, and mixed by Ethan Setiawan.
Mastered by Peter Atkinson.


Alaina Stacey, “I Would”

Artist: Alaina Stacey
Hometown: Chicago, Illinois
Song: “I Would”
Album: DAY (EP)
Release Date: May 3, 2024

In Their Words: “This is the first song I wrote with my now bandmate and writing partner, Sam Gyllenhaal. First co-writes are sort of like first dates: You go in with hope & expectations and sometimes you find true love, and sometimes it crashes and burns and becomes a great story to tell later. Luckily, I found true songwriter love with Sam. I was trying to create new starts and say yes to new things, so I went into our first write and opened my heart to the possibility of a new beginning. Sam met me there 100%. I think it came out in this song – the desire to make a fresh start, to have a do-over, and to be the best version of yourself that you can be. Of course, you can’t go back in time. With every epiphany comes the mistake that gave it to you in the first place.” – Alaina Stacey

Track Credits:
Written by Alaina Stacey & Sam Gyllenhaal.
Alaina Stacey – Vocals, background vocals
Josh Hunt – Drums & percussion
Todd Lombardo – Acoustic guitar, high strung guitar
Matt Pierson – Bass
Dustin Ransom – Keys, background vocals
Evan Redwine – Electric guitar, programming, engineer, mixing, producer

Video Credits:
Tiffany Roberts – Female lead
Caleb Shore – Male lead
Directed, Produced, Edited and Colored by Rob Bondurant.


Lily Kershaw, “Americandream”

Artist: Lily Kershaw
Hometown: Los Angeles, California
Song: “Americandream”
Label: Nettwerk Music Group

In Their Words:“As I started to resurface from years of prolonged depression in my 20s, a friend one day was telling me about her American dreams. When she asked me what mine were, I told her I didn’t have any. She couldn’t believe that I didn’t have dreams of things I wanted to do in my life. I mean, I loved writing music and sharing it with people, but after battling with depression for so long, there was no place I wanted to go or thing I wanted to do. I had sort of given up. I wrote this song after having this conversation with her that very night. I was in the midst of recording my upcoming album, so I brought it in the next day to the studio finished, and it fit the album perfectly. I love the optimism at the end. I was really singing that to myself… the idea that it’s not too late, and I can still have dreams and live them.” – Lily Kershaw


Yamaha Sessions: Jamie McKeogh

It was early fall when we met with JigJam guitarist Jamie McKeogh just outside of Nashville, Tennessee to capture this brand new, exclusive Yamaha Session.

For his first selection, McKeogh picked up his gorgeous custom Yamaha acoustic guitar and performed “Streets of London,” a song written by Ralph McTell and popularized in bluegrass circles by Tony Rice. McKeogh laughs as he plays through a handful of takes of the tune, trying to remember the order of the verses and hoping he’ll do Rice and McTell justice with his slightly Celtic-infused rendition. His voice is warm and cozy, accompanied by free and tender transatlantic flatpicking that references Rice as often as it explores brand new sonic territories. “Streets of London” shines with McKeogh’s – and JigJam’s – classic treatment, processing American roots music through a Celtic and Irish bluegrass lens.

Read more and watch the entire Yamaha Session here.


Rootsy Summer Sessions: Scott Ballew

Last summer in Falkenberg, Sweden, videographers from I Know We Should shot a series of gorgeous sessions during Rootsy Summer Fest ’23, peeling off from the festival with artists from the lineup to capture intimate recordings of fleeting live performances. For the latest in our Rootsy Summer Sessions series, singer-songwriter and filmmaker Scott Ballew performed two songs on the banks of the Ätran overlooking the historic Tullbron bridge and fly fishermen stalking their quarry in the fast flowing water.

“Alright, I’ll try a river song…” Ballew says, introducing an original with a perfect subject for the setting. The selection is “Tent Song” from his 2021 critically-acclaimed debut album, Talking to Mountains. He continues with “Blue Eyes,” from 2022’s follow up to Talking to Mountains, entitled Leisure Rodeo.

Read more and watch the entire Rootsy Summer Session here.


Photo Credit: Louise Bichan by Louise Bichan; Alaina Stacey by Tanner Grandstaff.

Watch Willi Carlisle’s Brand New Video for “When the Pills Wear Off”

On an auspicious Leap Day and the final day of February we want to bid adieu to our Artist of the Month, Willi Carlisle – and as it happens, he’s dropped a brand new music video as if to celebrate the occasion. Shot by Mike Vanata of the hugely popular series Western AF, the performance is tender and haunted, finding redemption – as his entire new album, Critterland, does – in the dark shadows under which so many marginalized and oppressed people and their stories are willfully hidden by our society. He sings:

“Oh I lost friends to heroin
Plenty more to loving them
Strung out on the highway like we couldn’t read the signs
Now that I am older 
And burn a little colder
I know how to read between the lines…”

Carlisle doesn’t just know how to read between the lines, he knows how to locate and place entire universes in their gray, amorphous no-man’s-lands – territories all too familiar to the kind of folks who have faced the social and political issues he sings about. Critterland is a gorgeous, cattywampus, hodge-podge of songs, subjects, and stories, pinned together with whimsy and Carlisle’s poetic way of viewing the world. As BGS contributor Steacy Easton put it in their Artist of the Month feature on Carlisle and Critterland, “Carlisle is at his best when limning complex networks of historical figures, news, what is called ‘traditional music,’ contemporary poetics, and the natural world. He is a lyric poet, in the most classical sense.”

On “When the Pills Where Off,” those skills are on full display. Carlisle takes a well-worn country music trope – the genre’s everlasting relationship to substances and their abuse and misuse – and grounds it not only in reality, but in the working class, in the very real, embodied human beings whom he references throughout the song’s lyrics. This is not a song venerating or valorizing drugs as a signifier of authenticity, of “outlaw” country, of legitimacy, whether artifice or genuine. It decries the titular pills, but more than that, it decries the society and culture that requires them.

Carlisle’s music is complicated, nuanced, and resplendent. It offers as deep an intellectual reckoning as its listeners are willing to engage in. Still, there’s an ease to Critterland and its songs. No matter how powerful or indelible these songs’ stories or messages are, they are each, first and foremost, excellent, singable, lovable songs. That they offer so much insight and so much heart, wrapped up in intelligence, subversiveness, and thoughtfulness is simply a bonus.


Photo Credit: Madison Hurley

MIXTAPE: Growing Up Hardly Strictly with ISMAY

I consider myself to be amongst the luckiest of music lovers. Growing up, I saw some of the most incredible roots artists from backstage while holding my Jack Russell terrier and playing with my cousins. When I was 8 years old, my grandfather Warren started a free bluegrass festival in San Francisco called Hardly Strictly Bluegrass. These artists shaped me since they were the first ones I watched perform, but the connection went on to become even deeper. When my grandfather passed away in 2011 I started performing music, and the larger community of Hardly Strictly was where I found my encouragers and mentors.

This is a compilation of the artists who I heard from and listened to as a child, and those whose songs I learned when I first became a musician. – ISMAY (AKA Avery Hellman)

“Dark Turn of Mind” – Gillian Welch

Just after high school I spent time working on some small homesteads with a farm labor trade for room and board. This was the same time that The Harrow & the Harvest by Gillian Welch came out – a literary masterpiece. Every time I listen to this record it reminds me of those homesteads and my borrowed car with a faulty battery. It brings me back to the day I arrived late to a new farm in West Virginia while my roommate was still sleeping and how odd it felt to be in a house with a stranger. I got up in the morning to make sourdough toast with an egg wondering what that person who was asleep in the loft of that ’80s wood cabin would think of me.

“Concrete And Barbed Wire” – Lucinda Williams

In the ’90s I was fortunate that my mom had great music taste. She took us around in a magenta suburban car and played Lucinda Williams. She said us kids used to sing along with silly accents to the words “concrete and barbed wire.” It took me another 20 years to fully appreciate Lucinda Williams and the masterful lyricist she is. Over the last four years, I’ve been working on a documentary about her, and it’s been so rewarding, because Lucinda’s music is the kind that gets better the more you know it.

“Dallas” – The Flatlanders

My grandfather was not a professional musician for most of his life, but in the final years he played in a bluegrass band with his friend Jimmie Dale Gilmore. What a kind man Jimmie is, with a voice that reminds me of a dove fluttering away. Because of this relationship he had with my grandfather, I heard about this record Jimmie made with his band The Flatlanders that was lost for 40 years. It was raw and made me feel like I was under a tin roof in Texas. It’s said that this tape helped mark the birth of alt-country.

“The Times They Are A-Changin'” – Odetta

A few years ago I was asked to perform at an event that compared and contrasted Bob Dylan and Leonard Cohen. I’m more of a Cohen person, so I had more trouble finding a Dylan song that felt like it would fit my feel. That was when I came upon this remarkable Odetta cover and I was inspired. She changed the whole feel of the song to make it her own. In 2008, she performed at Hardly Strictly Bluegrass just two months before she passed away, it was one of the final times she ever performed.

“St. James Hospital” – Doc Watson

I know that most people know Doc for his flatpicking, but I’ve always been much more drawn to the fingerpicking style of guitar in general. “St. James Hospital” feels like a fascinating departure from the more well known Doc Watson performances, and I love hearing him playing in a less linear fashion. This shows he can do it all. In the music that I’ve recorded I sometimes feel a bit out-of-the-norm and nowhere-to-belong, but this song feels similar to one I recorded called “A Song in Praise of Sonoma Mountain.” Hearing “St. James Hospital” makes me feel less out-on-a-limb in roots music.

“Permanent” – Kenneth Pattengale & Joey Ryan (The Milk Carton Kids)

As I started playing music I found this record by The Milk Carton Kids before they had that name, and played under Kenneth Pattengale & Joey Ryan. Listening to this song now, it is still unreal that it was all recorded live at a concert. It was deeply inspiring to see artists like Gillian Welch and Dave Rawlings generating a new live sound that was somehow very modern and yet felt like a continuation of original folk music. As if the ’80s and ’90s had never happened! What a gift. Then, seeing The Milk Carton Kids take that torch and carry it on was so exciting for me as a 19 year old.

“Boulder to Birmingham” – Emmylou Harris

I listen to Emmylou every year on Sunday night at Hardly Strictly Bluegrass. Her silver hair and steadiness feel beyond time. I can’t believe she is still here, with that same strong presence since I was just 8 years old. As a performer she has a strong sense of worthiness to the audience, a sense of mutual respect for the relationship between listener and performer. I hope that I can hold just a bit of her steadiness within myself.

“Restless” – Alison Krauss & Union Station

I was in 6th grade and didn’t much enjoy recess out on the playground. I brought my CDs over to an empty classroom, and sat in the back listening to Alison Krauss & Union Station. Sometimes I’d show these CDs to my friends. This was before I figured out that it was cooler to be listening to rock music. But I loved that music, and the songs were amongst the first I tried to learn in singing lessons.

“The Silver Dagger” – Old Crow Medicine Show

Old Crow Medicine Show was playing at Hardly Strictly as they rose up in mainstream culture. I appreciate the edge that this recording preserves. There’s even a moment where it sounds like someone might have dropped something or hit their instrument on another (01:35). I wish more recordings kept imperfections preserved within them.

“Pretty Bird” – Hazel Dickens

Part of the reason that my grandfather started Hardly Strictly Bluegrass was because of his love of Hazel Dickens. They were from very different backgrounds, but they became friends and saw the common humanity in one another through music. She played every year until she died. This is my favorite song of hers. What is beautiful to me about Hazel’s take on bluegrass is the imperfections and raw emotion. She brought her whole self to the song.

“Harlem River Blues” – Justin Townes Earle 

I can still picture Justin on the stage with his impeccably curated suits. Back around 2018, I opened a show for him in Santa Cruz, California. He drove up to the venue in a red convertible, which I thought was the coolest thing ever. Just a guy and his ride. He was very kind to me and I wish I had more chances to see him play again. May his music never fade away.

“Tiniest Lights” – Angel Olsen 

When I was 20, I went into a record shop in Ohio. The guy there said they only really carry more obscure records. No problem, I thought, I was here for Captain Beefheart and PJ Harvey. But when I asked, he said those artists were too well known. He pointed me towards Angel Olsen and I heard something in songwriting I had never heard before. My world opened up, and I knew there was so much more that was possible after listening to “Tiniest Lights.” She performed at Hardly Strictly in 2015 and her voice was as real and penetrating as the recordings.

“If I Needed You” – Lyle Lovett

What’s better than Lyle Lovett playing a Townes Van Zandt song?? We listened to Lyle a bunch when I was a kid. No, I’m not from Texas, but I do love those Texas songwriters.

“Long Ride Home” – Patty Griffin

The first time I performed at Hardly Strictly (although somewhat tangentially) was at an artist after party. I chose this song, because it had a fun fancy guitar line I could play with my beginner fingers. Someone who was performing came up and said they thought I was talented. I think that might have changed my life right there. It was the first time anyone had come up to me and said I was good enough to do this as a job, not to mention amongst professional musicians.

“Are You Sure” – Willie Nelson

Willie played Hardly Strictly in 2003 and I remember that big black bus sitting behind the main stage. I can’t even imagine the thrill of the audience members, his fans are as dedicated as they come. I heard this song at a recently released film that is fantastic called To Leslie.

“Little Bird of Heaven” – Reeltime Travellers

This band was part of that wave of old-time style artists that came at the same time as Hardly Strictly. The vocals are so unexpected, but real and honest. One of their band members became a mentor of mine and helped me get my start in the music business and I am forever grateful.

“Essay Man” and “The Golden Palomino” – ISMAY

These are two songs from my latest release, Desert Pavement, that would never have happened if it weren’t for Hardly Strictly. I am trying to find my way with my own version of folk, and can’t help but be inspired at what a rich trove of artists I have to draw from.


Photo Credit: Aubrey Trinnaman

BGS 5+5: The Lost Wayne

Artist: The Lost Wayne (AKA Hunter Hoffman)
Hometown: DMV (DC/Maryland/Virginia)
Latest Album: Tangerine
Personal nicknames (or rejected band names): Hamster, Smooch

Which artist has influenced you the most and how?

There have been, and there continues to be, so many that it’s hard to narrow it down to just one. But the artist who has had the deepest impact on me has definitely been Noah Gundersen. My sister introduced me to his music in my early 20s and I have been a massive fan ever since. His honesty and vulnerability in his writing is something I’ve always admired and been drawn to. We’re both around the same age and I felt the experiences he was singing about were lining up exactly with my life. I’ve seen him play live many times, both solo and with a full band, and you can feel the crowd just completely magnetized to him and feeling every lyric and emotion of each song. One way I like to test if a song is well written is if it’s message and gravitas holds up with just the artist and their instrument. His music is equally impactful with the fullness of produced sound or a solo acoustic set. He’s inspired me in so many ways in finding the deep truths in my songwriting and how to translate that into performing live. I could go on and on, but I feel like it’s starting to sound creepy so I’m going to stop!

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

I moved to New York to go to acting school at The Neighborhood Playhouse and in my college years I had played little open mic showcases on campus and had written a handful of songs. I had dreams of becoming a musician, but was primarily focused on acting. I set a goal for myself that I wanted to get a show playing a full set of original music, so I went to an open mic at the former coffee shop/concert venue Waltz-Astoria in Queens. Pedro Gonzalez and his wife Song were the owners, and after I played my two-song slot he asked if I wanted to perform a set that weekend, since another artist had dropped out at the last minute. All of a sudden my dream became a reality in the first few weeks of moving to the city. After I finished my set and felt the rush of baring my soul through my songs on stage, I knew this was no longer going to only be a therapeutic hobby. I’m grateful to say I’ve been able to juggle both acting and music in my adulthood and I take pride in saying I am an actor AND a musician. It’s been a wonderful ride so far.

What other art forms – literature, film, dance, painting, etc. – inform your music?

All of them. I just finished reading Rick Rubin’s book, The Creative Act: A Way Of Being, and it’s really opened me to finding inspiration everywhere. I’ve grown to appreciate how individual and subjective art is for everyone and that what I appreciate and connect to could be the complete opposite experience for someone else. So even if I don’t relate to something or “like” it, I try to keep my mind open and attempt to analyze why it doesn’t. Art helps us define who we are to ourselves, and as an artist I try to consume as much as I can, because you never know what’s going to hit you.

What has been the best advice you’ve received in your career so far?

Steal from other artists. And not in the copyright way, but in the inspiration. Sometimes if I’m caught in a writer’s block or a creative lull in my songwriting, I get so much from learning a new song from an artist I love. Or messing with it to sound a different way and make it cater to my voice. I’m also self-taught on guitar and have relatively zero knowledge of music theory, so when I learn and practice other people’s music, I discover new chord progressions or playing styles that can be so helpful to my own songwriting.

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

I’ve written a few songs through a sort of character in mind, but inherently every song I write is a form of me. 95% of the songs I’ve written have started from me in a room with my guitar, sitting with whatever feelings or circumstances are making their way through my life, and doodling around ’til something sparks. Sometimes I’m in a sad place and out comes a corny love song, or I’m happy as a clam and I word vomit a full existential crisis, my world burning down around me. At the end of the day it’s all me, whether I’m inhabiting a character or not, I have to start with the truth of it for myself. I think it can be a great exercise to write from the perspective of a character, and I can attest it’s a lot of fun, but my favorite songs I’ve written are the ones that are uncomfortably me. My experiences and stories are the only things I can honestly share, and if I can write a song that impacts someone the way so many artists have impacted me, then hopefully I’ll find myself in the ballpark of making something meaningful.


Photo Credit: Shannen Bamford

You Gotta Hear This: New Music From Tray Wellington, Corb Lund, and More

We love a week absolutely filled to the brim with music – and we don’t just mean because we’re attending Folk Alliance International and hosting a private showcase room in Kansas City this week!

This week, there were just too many exciting releases and new songs to feature, so buckle up for seven excellent premieres – cause You Gotta Hear This! From a John Hiatt cover by modernist banjo player Tray Wellington to a brand new music video from country neo-traditionalist Corb Lund, from Amelia White to the Roe Family Singers, there’s something for every taste and from every style of American roots music.

Tray Wellington, “Lift Up Every Stone”

Artist: Tray Wellington
Hometown: Raleigh, North Carolina
Song: “Lift Up Every Stone”
Release Date: February 23, 2024
Label: Mountain Home Music Company

In Their Words: “For me, ‘Lift Up Every Stone’ encompasses a sense of encouragement to fight through the hard times in life. When I first heard the John Hiatt version of this song, I loved the use of imagery to convey the lifting atmosphere. It was also a chance to try something new musically, which for anything I record, I want to be challenged more and more — and this was the perfect way to step outside of my comfort zone.” – Tray Wellington

Track Credits:
Tray Wellington – Banjo, lead vocal
Drew Matulich – Guitar, electric guitar
Katelynn Bohn – Bass
Josiah Nelson – Mandolin, fiddle
DaShawn Hickman – Pedal steel guitar
Wendy Hickman – Lead vocal, harmony vocal


Corb Lund, “El Viejo (For Ian)”

Artist: Corb Lund
Hometown: Alberta, Canada
Song: “El Viejo (For Ian)”
Album: El Viejo
Release Date: February 23, 2024
Label: New West Records

In Their Words: “We dedicated the record to our late friend, Ian Tyson, and the title track is a tribute to him. ‘El Viejo’ was our friendly nickname for him and it means ‘the old man.’ I’m pretty proud of the song, and the video, which uses a lot of cool old stock footage of him. Hope the record is as satisfying to listen to as it was for us to make. I left it all on the field for this one.” – Corb Lund

Video Credits:
Noah Fallis – Director, Director of Photography
Jamie Campbell – Producer
Brendan Schmidt – Camera Operator, Editor
Ethan Wournell – First A/C
Blair Bourque – Key Grip
Alyssa Howland – Gaffer
Archival footage of Ian Tyson courtesy of Neil McGonagle


Amelia White, “Love I Swore”

Artist: Amelia White
Hometown: Nashville, Tennessee
Song: “Love I Swore”
Album: Love I Swore
Release Date: February 23, 2024
Label: Thirty One Tigers

In Their Words: “The title track of Love I Swore is a dark and stormy love letter. I wrote it on the streets of Glasgow and Edinburgh in deep summer on tour when the sky stayed light until midnight. The ghosts of what I wished a love was and how it seemed to be slipping away were talking, and I wondered if a bird that had left the cage would be happy coming back? Kim Richey (producer) called in Eamon McLoughlin to slay our hearts with violin as the track builds. This honestly is one of my favorite guitar lines that has ever come out of me, and I hope all you troubled lovers find some strange comfort here.“ – Amelia White


Stephanie Sammons, “Faithless”

Artist: Stephanie Sammons
Hometown: Dallas, Texas
Song: “Faithless”
Album: Time and Evolution
Release Date: May 3, 2024

In Their Words: “What inspired this song was an old friend from high school who died from suicide in 2022. I kept up with her on social media. She would post pictures of her dog and her kids. Her posts seemed joyful and even funny from time to time. How could I have known she was suffering so immensely? If only I would have known! It was heartbreaking. I felt so helpless.

“And then there are the painful feelings with regards to my younger sister, who has had a rough time just doing ‘life’ in general. Even though we’re only 14 months apart, I was absent and oblivious to what she was going through during her darkest days. I’ve wondered, why does she continue to battle demons and dark places and I don’t? And why did it take me so long to realize how her anger was pain turned inward? I have guilt about not being there for my sibling.

“Because of the pain I have seen others endure and I have felt, this song explores my deep questions about faith. I’m asking myself, what do I have faith in? ‘Faithless’ is reflecting on the indiscriminate nature of suffering, generational trauma, and what ultimately happens to our souls when we depart this world.” – Stephanie Sammons

Track Credits:
Written and published by Stephanie Sammons

Stephanie Sammons – Vocals, acoustic guitar
Mary Bragg (producer) – Background vocals
Josh Kaler – Guitars and pedal steel
Jordan Perlson – Drums, percussion
Jon Estes– Bass, piano, organ


The Roe Family Singers, “Little Trouble”

Artist: The Roe Family Singers
Hometown: Minneapolis, Minnesota
Song: “Little Trouble”
Album: Sisters And Brothers
Release Date: February 2, 2024
Label: Bonfire Music Group

In Their Words: “I’ve long been interested in the folk process; specifically, the idea that newer folk songs borrow melodies and lyrics from earlier songs and repurpose them. ‘Little Trouble’ started life by borrowing part of the melody from the traditional song ‘Little Birdy,’ and reimagines some of the lyrics, too, updating them to deal with modern concerns like urban versus rural, social media, political scare-mongering and manufactured moral panics, and a culture held together through pharmacology.” – Quillan Roe


Wolf Jett, “Tavira”

Artist: Wolf Jett
Hometown: Santa Cruz Mountains
Song: “Tavira”
Album: Time Will Finally Come
Release Date: February 23, 2024

In Their Words: “Imagine leaving your cushy pharma job and rent-controlled apartment in SF to travel by bicycle and busk through southern Spain for a year. One day, you lose your wallet skinny-dipping near the Portuguese border and then you come upon the village of Tavira. Upon first glance, the cobblestone streets and whitewashed buildings seem unremarkable, until you cross the Roman bridge over the canal, break open your guitar case, and start playing. Next thing you know, a large crowd gathers around, dancing and cheering, and you make more tips than you’ve seen all month. A French expat offers for you to stay on his farm to help with the fig harvest, and next thing you know you’re closer to Eden than ever. This is a love song to Portugal and the wonderful times I spent there.” – Chris Jones, lead singer and songwriter


Pi Jacobs, “Coyote”

Artist: Pi Jacobs
Hometown: Los Angeles, California
Song: “Coyote”
Album: Soldier On
Release Date: April 26, 2024
Label: Blackbird Record Label

In Their Words: “The song began one day when a coyote stalked my dog on a walk, following us home, and even jumping our fence that night. It was a terrifying experience, but the metaphor it brought to mind was even more menacing. My best friend had been fighting cancer and every time we thought it was gone, it would spring back up, just like this dang coyote. The image was so powerful, that when I told the story to my co-writer, Ted Russell Kamp, the song just about wrote itself! But even with this bleak backstory, the song sounds ‘happy,’ and I’m happy to report that both my dog and my friend are alive and well. Take that coyote!” – Pi Jacobs

Track Credits: Written by Lisa Marie Jacobs and Ted Russell Kamp

Recorded in Los Angeles at Carriage House & Forty Below Records
Eric Corne & Pi Jacobs – Producers
Eric Corne – Engineer
Mark Chalecki – Mastering engineer
Pi Jacobs – Guitar, lead vocal, backing vocal
Adam Hall – Dobro, banjo
Zack Hall – Upright bass
Butch Norton – Drums, percussion
Philip Glen – Mandolin

Video Credit: Taylor Hungerford, Director / Silver Spark Printworks


Photo Credit: Tray Wellington by Heidi Holloway; Corb Lund by Noah Fallis.