BGS and the Philadelphia Folksong Society, who are presenters of the oldest continuously run music festival in North America, are proud to join together to virtually present Cabin Fever Fest on February 20 & 21. This fully digital, interactive musical experience will include multiple streaming stages, performances by international stars and local favorites, music workshops and lessons, and more. (See the full lineup below.)
Tickets to Cabin Fever Fest are available now, full weekend passes are available for just $45 for PFS Members and $50 for Not-Yet-Members. Your ticket gives you full access to the event from February 20 until February 28, to watch at your leisure and convenience.
To get excited for the launch of the festival this Saturday, we wanted to introduce our BGS audience to some of the amazing folks on the lineup. Hopefully you’ll find a few favorite artists and performers — new and old — to catch this weekend on Cabin Fever Fest, presented by BGS and the Philadelphia Folksong Society!
Avi Kaplan
We first turned our attention to former Pentatonix low-end Avi Kaplan when he released his first rootsy foray, I’ll Get By, last February. In our interview last year, he spoke about his time with the internationally-renowned a capella group, growing up on bluegrass, and how is journey back to folk took shape. We were excited to have Avi on Whiskey Sour Happy Hour episode 3 last spring and we’re so excited to have him on Cabin Fever Fest, as well!
By now a longtime friend of BGS as well as a stalwart of the Americana-blues scene, Keb’ Mo’ has been our Artist of the Month, has been on our podcasts, our live lineups, and our year-end and holiday playlists, and now will join us and our Philly Folksong Society friends for Cabin Fever Fest! Whether he’s sharing a stage with Taj Mahal or swapping licks with Rob Ickes & Trey Hensley, Keb’ Mo’ is an extraordinary picker and collaborator.
Bluegrass family band turned modern blues-rock shredders Larkin Poe are a constantfavoriteon the pages and social media channels of BGS — and we totally see why! They combine fiery, impassioned energy with bluegrass technique and virtuosity for a brand of southern rock and blues that appeals to all kinds of roots music fans. They’ve kept up a constant “touring” calendar despite COVID-19, and we’re so grateful to have them join our virtual festival.
A cosmic, mystical force on banjo, with her songwriting pen, or within the pages of her poetry notebook, Valerie June is another Whiskey Sour Happy Hour alumnus joining us on the Cabin Fever Fest lineup. Her upcoming Jack Splash-produced album, The Moon and Stars: Prescriptions for Dreamers, is generating quite a bit of buzz in folk circles — the single, “Call Me a Fool” features Stax legend Carla Thomas! — so of course we’re looking forward to her Cabin Fever performance!
What would a folk festival be without sibling harmonies!? The way The Secret Sisters — Laura Rogers and Lydia Slagle — blend their songwriting styles, their production and arrangements, and their voices is so effortless — while laser-precise, deliberate, and painstaking.
Lockdown shows from Nashville’s self-professed banjo house (and basement) have kept all of us going through the past year or so — or at least, all of us at BGS and Philly Folksong Society! We’re tickled they’ll be bringing more of their humorous, engaging, double-banjo content to Cabin Fever Fest.
Perhaps the world’s foremost ukulele virtuoso, Jake Shimabukuro represents quite a few American roots music traditions often left to the wayside in folk circles. Shimabukuro has performed with many bluegrass, old-time, and Americana greats including Sierra Hull, Cathy Fink & Marcy Marxer, Alison Brown, Béla Fleck, and more. His prodigious approach to the ukulele — an instrument with skyrocketing popularity at the moment, especially among Gen Z — will surely wow new and old fans alike, no matter your entry point to roots music.
Speaking of Sierra Hull! One of our all-time favorite mandolin maestros, this thoughtful composer/songwriter will headline one day of our BGS stage. Every chance we get to work together, we take it! We can’t wait to see what new, astounding cover songs — like her Whiskey Sour Happy Hour rendition of “King of Anything” — fantastic musical acrobatics, and bluegrass nuggets she’ll pepper throughout her performance.
Our Philly Folk Fest friends turned us onto local favorites, Mwenso & the Shakes, and we’re awfully glad they did. Led by Michael Mwenso, the troupe of global artists present music that’s entrancing, entertaining, and as they put it, “A formidable timeline of jazz and blues expression through African and Afro American music.” Their debut album, Emergence [The Process of Coming Into Being], is available wherever you get music now. We can’t wait to hear from Mwenso & the Shakes!
Based in Santa Cruz, California these fixtures in the Northern California bluegrass scene are making a splash on a national scale, despite the pandemic throwing a wrench in their ascension. Blue Summit’s music is modern, crisp, and precise with a songwriting heart that feels fully realized and mature, despite their relative youth as a group. Lee’s vocals and originals spearhead the ensemble, reminding of Alison Krauss and her former bandmate Molly Tuttle, too. BGS has been waiting for the opportunity to get Blue Summit on a lineup and Cabin Fever Fest was the perfect opportunity!
Check out the full lineup and schedules for Cabin Fever Fest below and don’t forget to head to the CFF website for more information — discover workshops, get your Philly Folksong Society membership, find FAQs, and more!
Saturday, February 20, 2021
(all times EST)
CAMP STAGE presented by the Philadelphia Music Co-op
11:00AM Katherine Rondeau 11:30AM Jason Ager 12:00PM Hot Club of Philadelphia 12:30PM Rebecca Lang Fiorentino 1:00PM Ami Yares 1:30PM Bethlehem & Sad Patrick
CAMP STAGE presented by the Bluegrass Situation
2:30PM The Wandering Hearts 3:15PM AJ Lee & Blue Summit 4:30PM Jontavious Willis 5:45PM Jon Stickley Trio 7:00PM Sierra Hull
MARTIN STAGE / MAIN STAGE
3:30PM Emily Drinker 4:15PM OKAN 5:30PM James McMurtry 6:45PM Mwenso & the Shakes 8:00PM The Secret Sisters 9:15PM Keb’ Mo’ 10:15PM Avi Kaplan
Sunday, February 21, 2021
CAMP STAGE presented by the Philadelphia Music Co-op
11:00AM Ken Ulansey 11:30AM Huston West 12:00PM Rachel Eve 12:30PM Todd Fausnacht 1:00PM Ants On a Log Presents the World Premier of CURIOUS: The Movie 1:50PM Valentina Sounds
CAMP STAGE presented by Eisteddfod Amgen
2:30PM Tŷ Gwerin o bell featuring Cowbois Rhos Botwnnog, Tant, VRi, Pedair
Artist:Moira Smiley Hometown: New Haven, Vermont Song: “Days of War” (feat. Sam Amidon and Seamus Egan) Album:In Our Voices Release Date: February 19, 2021 Label: Moira Smiley Music
In Their Words: “As I write these words for the Bluegrass Situation, I’m traveling for the first time in nine months. I’m seeing the birds-eye view that ‘Days of War’ imagines… and it’s extraordinary to see this beautiful earth today. I’m flying to my beloved California to work with Tune-Yards and write some new music. ‘I fly because I must carry on.’ ‘Days of War’ is one of three banjo-driven tracks on my new album, In Our Voices. This album returns me to my a cappella, collaborative roots and kicks up a lot of percussive dust while bowing deeply to American folk music.
“Seamus Egan (Solas, Seamus Egan Project) and I wrote the core of this song after yet another shockwave of white supremacist hate hurt more people in 2017. It evolved into this form when my old friend and fellow Vermonter, Sam Amidon, said ‘yes!’ to singing the ‘human’ voice so I could converse with him as ‘the bird’ who flies and sings in spite of all. The bird is also the voice of our inner resilience — our artistic and humanistic gifts that carry us through times of upheaval and violence.” — Moira Smiley
Heading into the Grammy Awards this year, Black Pumas are competing for three trophies, two of them in high-profile categories. Their breakout single, “Colors,” is up for Record of the Year, while Black Pumas (Deluxe Edition) will vie for Album of the Year. Their third nod, with “Colors” in the Best American Roots Performance category, reflects the duo’s affinity for soul and folk music, as well as the way they blend genres without losing the groove or the message. The recognition also follows their 2020 win from the Americana Music Association as Emerging Act of the Year.
From their home base in Austin, Texas, Black Pumas’ Eric Burton and Adrian Quesada caught up with BGS by phone, speaking about the music that shaped them, trusting their instincts, and the message they’d like to send out in 2021.
BGS: One of my favorite songs on this album is “Fire.” To me, it has a message of encouragement. What sparked the idea to write that song?
Eric: “Fire” was one of the tracks that Adrian first sent me. Adrian has such a brilliant way of making music that feels almost visual and vivid, almost cinematic, so when I got it, I couldn’t help but be moved to allow the song to inspire lyrics. At the time I was living with a girlfriend who was going through some health issues. She had an autoimmune deficiency and I was encouraging her to call on me. That you don’t have to feel like you’re overbearing or too much was the message that I made universal on the song “Fire.”
And lastly, with that song specifically, the funny thing was, before this I had never sung to another man on the phone. But this was one of the first songs that I was inspired to write lyrics to. When I get an idea, I like to show my friends almost right away. I called Adrian right away, not even meeting him yet. I called him and I said, “Hey, man, check this out!” I turned the song up and I started singing the melody and a few lyrics here and there, showing where it was moving, so I could integrate the space. It was really interesting to show Adrian that, and I was glad we were able to finalize the idea.
Adrian, what was going through your mind when you heard Eric sing in person, in the same room at the same time?
Adrian: Goosebumps. Trying to play it cool and not get too excited. I tried to play it off, but yeah, I knew that it was going to be a special thing, but I hadn’t heard it in the room. There was obviously a spark there, so it was just a matter of containing my enthusiasm and not getting too ahead of anything — until I finally broke down and said, “All right, man, we have to play this stuff live. Are you into doing that?” And he was like, “Yeah, let’s do it.”
It seems like you guys are in tune with your instincts. How important has that been to the success of Black Pumas?
Eric: It’s hard to put too much pressure on ourselves regarding what others are going to think about us. As opposed to trusting how easy it is to know what moves you first. It’s much more of an easygoing experience making music if you’re doing it to move yourself, knowing that what moves you has a really good chance of moving someone else. As Adrian mentioned earlier, when we started making music together, it was to have fun. We really dug what we were doing and we just kept doing it, and it turned into what it is now. Regardless if anyone was listening to the music or not, we would probably be making music every other week or so, because we enjoy doing it together. Hopefully like what we having coming up next, but if not, I think we’ll still be making music. It won’t crush it.
Adrian, who are some of your favorite guitarists?
Adrian: I personally have gravitated more toward rhythm players, and the finesse and nuance that goes into something like that. Recently I’ve been getting into Cornell Dupree, who played on thousands of recording sessions. He was in Aretha Franklin’s band for a long time and played with Donnie Hathaway and all the classic soul recordings. He’s an unsung hero of the instrument, and of the genre, too, because he didn’t always get all the shine. I don’t know if you saw that Aretha movie, Amazing Grace, from a few years ago that finally saw the light of day. I saw him playing on there and it was like, “Oh, man!” He never got that much attention, but I just started going down the rabbit hole of looking up YouTube videos.
Eric, I read that you grew up listening almost exclusively to gospel music. Is that right?
Eric: Not necessarily. My family comes from the church, and my grandparents were missionaries, so it was part of what was around, but for the most part, my family are also very artistic – musicians and writers. I would listen to my uncle write songs. He would pull out tubs and tubs of little tapes, and I would pop in one of his tapes once in a while and listen to his songwriting process. As a young kid, that was one of my toys, if you will. That’s pretty much how I learned to write music, listening to an uncle who had a really heavy hand in raising me, bringing me up, especially as an artist. For the most part, I would either hear whatever was on the radio in California, but most intimately it was through my uncle’s songmanship and his songwriting.
Adrian, who did you grow up listening to?
Adrian: I grew up listening to whatever was on MTV. I was really influenced by that. I was an only child and I was home by myself a lot. I grew up in South Texas and didn’t have a lot of places to get music from. So, when I discovered MTV, it turned me on to a lot of stuff, everything from hair rock bands to Nirvana and that whole sound. But the one thing I was really into, that had the biggest influence, is hip hop music, which I discovered through one of my neighbors who would always be playing stuff outside when they would be playing basketball. … I don’t know exactly what it was about the sound of hip-hop, but as I discovered the source of a lot of it, there was jazz and soul and funk at its core. And later on, I started getting into that music. I realized there was *that* underneath, hiding there for me to discover.
Looking ahead, what would be the best-case scenario for you in 2021? What would you hope that this year brings for you?
Eric: That we get to continue to create time and space to do exactly what we really love to do, which is to create music. We’re very fortunate that we’re seeing the opportunities we’re seeing now because people are buying the music and supporting us. Individually I look forward to creating more with Adrian, one, and also I just bought a house so I look forward creating somewhat of a studio set-up to can get into production myself.
Adrian: Yeah, I’ll second that — just the opportunity to put some new music to tape and get some out this year.
Eric: Lastly, I’ll speak for both of us briefly and say thank you [to our fans]. Thank you so much for listening to our music, for supporting us. We miss you guys, we love you guys. You guys fuel our passion and we look forward to continuing to be honest in the studio, together, that we may take what comes from our heart to allow it to move you guys’ heart.
Artist:Mark Erelli Hometown: Melrose, Massachusetts Song: “Handmade” (featuring Maya de Vitry) Album:Jackpot EP Release Date: February 12, 2021 Label: Soundly Music
In Their Words: “Sometimes I’ll write a song that just truly comes alive when turned into a duet. I didn’t write ‘Handmade’ for two people to sing, but it didn’t take much to retrofit it to include another voice. The question of who that voice should be was a harder decision, made difficult by the shear number of amazing singers in Nashville where we recorded the song. I was a big fan of The Stray Birds, and when Maya de Vitry went out on her own for her 2019 solo album Adaptations, I was truly blown away. I love listening to all types of voices, but I really love singing with someone who can dig in and match my dynamics, which inspires me to dig deeper. Singing with Maya, I didn’t have to hold anything back, and I think the strength our vocals project reinforces the song’s message that sometimes you have to dig in, roll up your sleeves, and really work to make love happen.” — Mark Erelli
“It was an absolute joy to sing ‘Handmade’ with Mark. As a guest in Mark’s recording process, I was stepping into whatever culture and atmosphere that they (Mark, his band, producer Zack, engineer Dan) already had going in the studio — and I remember stepping into that room and finding a place of pure warmth and enthusiasm. Harmony singing is one of my favorite things in the world — I get to feel the emotional intensity and energy and character of a song, and then actually climb into it and do my best to help convey the story. I think Mark’s lyrics here are especially resonant in this moment, because a lot of us are taking a more ‘handmade’ approach to everything these days. And that line ‘I can’t wait to see what we’re gonna make’ really hits me now too — in dreaming about our future beyond the pandemic, and how we won’t just be returning to something in the past… we all have an opportunity to make something new.” — Maya de Vitry
Photo of Mark Erelli: Joe Navas; Photo of Maya de Vitry: Kaitlyn Raitz
About four years ago in Austin, Texas, Eric Burton and Adrian Quesada were recommended to one another through a mutual friend — someone who could imagine the inevitable magic of pairing Burton’s magnificent singing to Quesada’s cool, pulsating productions. Although these two musicians didn’t know each other, they somehow needed each other. As a songwriter inspired by folk music and soul music alike, Burton sought a vehicle to carry him from busking to the bigger stage, while Quesada — already a Grammy winner for his work with Grupo Fantasma — sought that voice to flesh out the instrumental tracks he’d crafted in his studio, Electric Deluxe Recorders.
Nobody could accuse them of rushing it, as phone calls turned into studio collaborations, and ultimately a few gigs at the South Austin venue, C-Boy’s, just to show their friends what they were working on. However, once the secret was out, the lines to see them perform stretched around the block and Black Pumas promptly landed a recording contract, with a self-titled debut album landing in 2019. Since then, their partnership has led to four Grammy nominations, a trophy for Emerging Act of the Year from the Americana Music Association, an invitation to perform a song for the Biden-Harris inauguration, and even a Super Bowl commercial. In conversation, they are quick to credit each other with the sonic touches that have turned this intriguing duo into an international draw.
For the first part of our two-part Artist of the Month interview with Black Pumas, Burton and Quesada chatted with BGS about the roots of “Colors,” their first show together, and what the Austin music community is really like.
BGS: Finding the acoustic version of “Colors” was such a nice surprise. What kind of vibe were you going for when you recorded that version?
Eric: I think that the first time Adrian heard “Colors” was when I brought the guitar to the studio. I had been trying to record that song with different engineers and producers, and a lot of my friends would reflect that, “Man, the acoustic version has always been my favorite!” When I finally met Adrian, who was equally moved by the song, we were able to not necessarily think about it, really. Adrian started with a palette of sound that went hand in hand with the way that I write music as well. We just did it together and it came out how it did. We have amazing band members and we were able to just press record and do the thing.
Adrian: We recorded quite a few acoustic things, and as much as “Colors” is a Black Pumas performance, at the core it’s something that Eric wrote on acoustic guitar. So whenever you get to hear it like that, it’s more from the source.
I love the acoustic version of “Fast Car,” too. What was going through your mind when you heard that on playback for the first time?
Eric: You know, any time I play that song, a tear comes to my eye because it is one of a few covers that I knew when I was busking. It was a song that would move people to stick around, or tip, or want to engage after the song. So, it was an interesting feeling listening back to that song as a Black Puma, with Adrian Quesada, because I could feel how far I’d come from busking on the Santa Monica Pier to recording at Electric Deluxe.
Is there a lyric in that song that still tugs at your heart when you sing it?
Eric: The lyric that I really attach to is “You’ve got a fast car and I want a ticket to anywhere.” The first lyric is one of the most powerful lyrics. It sets the emotional canvas for the rest of the song. It’s just reflective of the strong desire in many people who start off in the troubadour style of playing and performing, a presentation to passersby.
Adrian, how did you approach that session, being a classic song that everybody knows?
Adrian: Oh man, I just tried to stay out of the way, honestly. Eric’s played it for so long and so well. We were going to work up an arrangement for the band to start playing it at our shows, but we didn’t get it together in time, so he just did it himself as an encore one night. All of us were watching from the side of the stage. It was like, man, why would we try to reinvent the wheel? I just try to complement the song, and the way that Eric emotes it is something that doesn’t need a lot. You don’t need to overthink it.
I love the falsetto on songs like “OCT 33.” It’s effective because you don’t use it all the time. Did you have to figure that out naturally? Or was there ever a conversation like, “Whoa, too much falsetto”? Or, “I think we need more”?
Eric: Honestly I come from playing folk music. I love Neil Young and Bob Dylan and dig on the Beatles — so when I first started playing music, I was playing acoustic folk soul music. When I got Adrian some tracks, I was living with a roommate and he was saying, “Hey man, I think you’re singing a little bit soft on these songs.” I said, “What do you mean?” And he’s like, “Just go back and listen to Wilson Pickett and Marvin Gaye and Otis Redding,” and when I did that, I was able to kind of integrate the way Marvin Gaye did that head voice, like, “Oooh!” That’s kind of his move. So, I was able to borrow some of the razor-sharp vocal sounds that you hear in these individuals to make some better paints for the canvas that was Adrian’s awesome production.
Adrian, you have a great vocal range to work with. What is that like for you as a producer, knowing you could take these arrangements anywhere?
Adrian: Yeah, I’m a big fan of the falsetto, but I was digging everything he was throwing out. So, when he goes falsetto, I go for it. When it’s not falsetto, unless I feel like it doesn’t work, I just let Eric’s instincts guide him, and what he feels like singing.
What do you remember about the first show you played together?
Eric: It was amazing, right? It was rad.
Adrian: We didn’t even rehearse a lot. We threw it together in a couple of days and we didn’t know what we were getting into. I remember thinking, like, “All right, this should be fun. Worst case scenario, we could drink some liquid courage before the show and have fun. But it completely surpassed my expectations and it was a blast, man. Those early shows we did at C-Boys still live in my memory as some of the best times.
Why did C-Boys seem like a good place to kick this off?
Adrian: It feels like a cool, downhome, neighborhood bar that has amazing music. Steve Wertheimer, who’s the owner, really believed in myself and Eric early on. It’s a competitive town for live music and he’s always been a huge supporter. We just sent him a song and he dug it, and gave us a residency. It was pretty amazing that he took a chance on it. Eric did a solo residency for a while at one of his other venues. He was always a big supporter.
Tell me what you mean when you say that the Austin music scene is competitive.
Adrian: I would say “competitive” in the way that there’s a lot of talented people, but not “competitive” in a way that’s cutthroat, you know what I mean? I feel like there’s a good support system, where everybody’s supportive of people. It’s not competitive in that way. It’s like, you better bring something to the table because there are a lot of people that play and are very talented.
So when this was all happening, were you thinking of a record deal and management and all that? Or was it more about just getting together to play?
Eric: I think we were just both stoked to get on a stage. At that point, we had spent a few months together in the studio. Adrian presented some instrumentals that he was working on, for me to then write songs over. And then I was introducing myself to Adrian through my songwriting and sharing some of the music that I came up with, for him to arrange around. We were having so much fun that we were saying, “Well, we should take this to the stage, just to see what our friends think about it. I don’t think either of us invited too many people to the show, or promoted it, or anything big like that. We were just curious about how it would go over with the people that we know.
Adrian: We just played and we weren’t thinking industry. We were just going to have fun. Originally we thought we would maybe play for a month or two. We didn’t have a big plan other than to play music. We didn’t think that far into the future. We thought, “We’ll do this until it’s not fun.” There wasn’t a detailed, long-term plan for anything. One thing was just leading to another.
In Their Words: “My hometown of Ste. Genevieve, Missouri, is a four-and-a-half hour drive from Nashville. My pilgrimages there were always made more romantic by snaking alone in a car down the country roads along the Mississippi. A winter or two ago, I had the radio off listening to the wind rush around with my left hand hanging out of my open window like a wing and this song came to me. I fumbled between the seats and found a broken pen and a crumbled gas receipt. I pressed both firm to my steering wheel and wrote the bulk of this song at 55 mph nearing Paducah.” — Ian Fisher
This week on The Show On The Road, in honor of Black History Month, we bring you a conversation with members of foundational gospel group, The Blind Boys Of Alabama, including longtime singer Ricky McKinnie and beloved senior member Jimmy Carter, who has been with the group for four decades.
Formed in the late 1930s with talent discovered at the Alabama Institute For The Negro Blind, the Blind Boys of Alabama have superseded limitations to bring their own high-spirited version of jubilee gospel throughout the world. Their music was often the backdrop to the Civil Rights Movement as Martin Luther King Jr. toured the south, and Jimmy and Ricky are both amazed and grateful that their message is still ringing true throughout the latest iteration Black Lives Matter movement that grew during the tumultuous last year.
While the members of the band have changed through time, the group has stayed steadfast to preserving a kinetic, church-based music that doesn’t seek to evangelize, but can bring people of all faiths together. Indeed, watching Jimmy and the other bespectacled members walk with hands on each other’s shoulders into the youthful crowds of adoring festival-goers, from Bonnaroo to Jazzfest, is really something to behold.
The Blind Boys’ body of work continues to grow. In the last few decades they’ve gamely collaborated with a wide range of secular artists from Peter Gabriel to Ben Harper to Bonnie Raitt, they made an album produced by Justin Vernon, AKA Bon Iver (2013’s stellar I’ll Find A Way), and they shrewdly reworked the ominous Tom Waits classic, “Way Down In The Hole,” which became the theme for HBO’s The Wire.
Their newest full length album, Almost Home, is a particularly moving treatise on morality and mortality. It features songs written by Marc Cohn, Valerie June, The North Mississippi All Stars and many others and was the last record that longtime member and bandleader Clarence Fountain was a part of before he passed away. He was a member of the Blind Boys of Alabama for nearly sixty years.
As Jimmy playfully mentions throughout our conversation, the Blind Boys of Alabama never let being blind stand in the way of doing what they do best: putting on a show. They’re entertainers at heart and it’s no small feat that they’ve brought a nearly lost form of swinging, soulful (and expertly arranged) gospel from the small southern towns where they grew up, all the way to the White House, where they’ve held court for three different presidents. And they’ve won five Grammy Awards along the way.
Stick around to the end of the episode hear their rich cover of Bob Dylan’s “I Shall Be Released.”
Artist:Miko Marks Hometown: Flint, Michigan Song: “Hard Times” Album:Our Country Release Date: March 26, 2021 Label: Redtone Records
In Their Words: “This is our arrangement of an 1854 song by Stephen Foster. Those who know about Foster’s involvement with minstrel shows earlier in his life may wonder why I would include a song of his on my album. Much of his success came through the appropriation of Black culture and music, and for me this felt like an opportunity to take a song of his and reclaim it through my own voice as a Black artist. It was also a way for me to pay tribute to Mavis Staples, whose arrangement of this song is absolutely gorgeous. The lyrics also have particular significance that I think everyone can relate to because of the hard times we’ve been going through this year. I love the melody and the mood. It’s sweet, sad, and hopeful all at the same time.” — Miko Marks
Welcome to the BGS Radio Hour! Since 2017, the show has been a weekly recap of all the great music, new and old, featured on BGS. This week we’ve got new releases from so many amazing artists on the roots scene today, from Luke Combs to Langhorne Slim to Sierra Hull! Remember to check back every Monday for a new episode of the BGS Radio Hour.
Luke Combs, of country radio stardom, teams up with bluegrass-favorite Billy Strings this week for a new single. “The Great Divide” was written by the duo for Combs’s bluegrass album, one that he hasn’t completed yet. However, both artists agreed that the time to release this song was now, attempting to shine a light of hope in this tough time.
Singer/frontwoman of the Birds of Chicago, Montréal-based Allison Russell brings this Sade cover to the show this week. What she calls an “endlessly expansive and inclusive song of love,” this song brings comfort to Russell – as it does to us, as well.
Nashville-based Jaelee Roberts is one of the quickest rising stars in bluegrass music. Her first single on Mountain Home Music Company, an original song co-written with Theo MacMillan (of Theo and Brenna), brings big promises of more great music to come.
A 5+5 guest this week is none other than Jim Olsen, president of Massachusetts record label Signature Sounds. Celebrating 25 years of the label, and the so many great artists presented by it, Olsen brings us the Golden Age playlist – which includes this jam from Twisted Pine.
Kentucky-based Dale Ann Bradley brought us a new album this weekend! While you may remember her from former BGS Artist of the Month Sister Sadie – an all-female bluegrass supergroup – Bradley is stepping away from the band in 2021 to celebrate this new solo album, just one of so many in her extensive catalog.
“Glory Demon” comes from Brewers Dictionary of Phrase and Fable. “It means war,” Matheson tells BGS. But, this is an anti-war song from the Scottish artist, one about how we never learn and life just keeps endlessly repeating itself.
The Black Pumas are our February Artist of the Month here at BGS! You may recognize them from the Biden inauguration, where they performed this song from their 2019 self-titled album. Stayed tuned all month long, where we’ll be featuring exclusive content on the Black Pumas!
This week on The Show On The Road podcast brings us a conversation with Sean Scolnick – known mostly by his alter-ego, Langhorne Slim. Host Z. Lupetin caught up with Slim to talk about his new album, Strawberry Mansion, creative funk, mental health, and more.
From Snohomish, Washington, Hillary Grace Fretland (of FRETLAND) catches up with BGS this week on a 5+5 segment – that is 5 questions, 5 songs. We talked favorite memories from being on stage, influences, and songwriting techniques.
From her upcoming The Moon and the Stars: Prescriptions for Dreamers, Valerie June brings us this song that she dedicates to us all. Produced by June and Jack Splash – whose resume includes Kendrick Lamar, Alicia Keys, and John Legend – this album makes it clear to June why she makes music.
Nashville-based fiddler Mike Barnett brings us this Bill Monroe twist-up from his upcoming duets album, +1. The record was slated for a fall 2020 release, until Barnett suffered from an unexpected brain hemmorage. After multiple successful surgeries, he is doing well and recovering in extensive rehab where he is reconnecting his brain and fingers. So in listening to this piece of amazing music, let’s all send our best wishes to Mike Barnett and his family. You can support Mike Barnett’s recovery here.
From last year’s Whiskey Sour Happy Hour, this week we’re featuring Sierra Hull’s performance of this Sara Bareilles pop-hit. The Nashville-based singer and songwriter just released Weighted Mind (The Original Sessions), an EP made up of the demos for her 2016 release, Weighted Mind.
“Time traveled on a superhighway,” Chicago-based singer and songwriter tells BGS of the world before the pandemic, “but since March, we’ve all been in a traffic jam.” David McMillin of the group suggests that getting a break from all that movement is actually a good thing, however. This song is all about hitting that pause button.
The Jon Stickley Trio is one of the most exciting instrumental, “jamgrass” groups on the scene today. Made up of drums, flatpick guitar, and fiddle, they continue to push the boundaries of instrumental roots music, while being a festival favorite across the nation. This week, they bring us this new single on Organic Records.
At the end of the Show On The Road podcast episode with Langhorne, he graced us with a performance of this song, accompanied by his cat, Mr. Beautiful. What better way to end this week’s show?
Photos: (L to R) Allison Russell by Francesca Cepero; Sierra Hull by Gina Binkley; Valerie June by Renata Raksha
Artist:Joyann Parker Hometown: Minneapolis, Minnesota Song: “What Did You Expect” Album:Out of the Dark Release Date: Feb 12, 2021 Label: Hopeless Romantics Records
In Their Words: “This song is a cheeky response to an experience that my musical partner, Mark Lamoine, relayed to me once about his daughter, who was then around 9 years old. The story goes something like this: Mark’s daughter was invited to play soccer with some boys in the neighborhood. When she went out to the park to play, they then decided against playing with her, saying they ‘didn’t want to play with a GIRL.’ She ran into the house, crying and very upset, of course. Her mother, seeing her in distress, asked what happened and when she found out, got down on one knee in front of her daughter and said something to the effect of, ‘Get used to it, Honey, men lie.’ This was great inspiration for a song for me, so I took it, twisted it so the female narrator was the villain in a relationship and being dishonest with her partner about her intentions, saying, ‘Well, what did you expect?'” — Joyann Parker
Photo credit: Jeannine Marie Photography
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