Tag: Folk

WATCH: Rachel Baiman, “No Good Time for Dying”

Posted on by Editor

Artist: Rachel Baiman with Atwood Quartet and Kyshona
Hometown: Nashville, Tennessee
Song: “No Good Time for Dying”
Album: Cycles
Release Date: June 11, 2021
Label: Signature Sounds

In Their Words: “Of all the songs on the record, this one felt the most cinematic, production-wise. Perhaps because I see this as the real story (of my late grandmother) playing out in my head each time I sing it. That’s why it seemed so fitting to collaborate with Atwood Quartet for this special live version of the song. Ben Plotnick wrote the incredible string parts, which both mimic and enhance the original album production. Kyshona was an artist I thought of immediately for the vocal harmonies, because of the quality of her voice and general spirit as a human. I was really grateful that she was up for it! After a year in which we’ve all had to face so much tragic death, this song feels like a reckoning of sorts, and a moment to process and hope for better in the future. I also want to give a special thanks to my neighbor Mike Malkiewicz for letting us transform and use his beautiful backyard stage.” — Rachel Baiman

Photo credit: Gina Binkley

LISTEN: Angela Autumn, “Sowin’ Seeds”

Posted on by Editor

Artist: Angela Autumn
Hometown: Nashville, Tennessee (originally from Zelienople, Pennsylvania)
Song: “Sowin’ Seeds”
Album: Frontiers Woman
Release Date: June 4, 2021

In Their Words: “‘Sowin’ Seeds’ is the oldest song on the record; I wrote it in 2017. It explores the could-be life of the musician; one of imagined ease, free from sacrifice. Once, after a show, a construction worker asked that I play this song again. It was in Pittsburgh, a town full of blue-collar workers. The chorus is a reference to the African American spiritual, ‘Working on a Building,’ which was recorded and later popularized by The Carter Family. The song features Nate Leath on fiddle, Keagan Justice on banjo, Mickey Justice on mandolin, and Kate Haldrup on drums.” — Angela Autumn

Photo credit: Dana Kalachnik

The Show on the Road – Lera Lynn

Posted on by Shelby Williamson

This week on The Show On The Road, we bring you a deep dive with silky-voiced, southern gothic-folk songwriter Lera Lynn. Lynn has recently gained notoriety for her mysterious and lushly cinematic sound, as heard on her haunting 2020 LP, On My Own (on which she writes, produces and plays every instrument on each song) and in the music of HBO’s True Detective (produced by T-Bone Burnett) — she became a cast member in Season 2.

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We’ve all had our dark moments during this last year. For Lera Lynn it was figuring out how to put out a new album, which she had painstakingly made herself in isolation (see also: Springsteen’s moody and homemade Nebraska), right as her first baby was on the way without any family being allowed to help shoulder the load. At times, the burden seemed too much to bear, but what emerged was a touchstone set of songs that unintentionally seemed to pinpoint the exact center of our collective dread — and the flickers of hope of a new beginning that can come out of a such a societal time-quake. Searching, reverb-y rock standouts like “Are You Listening?” seem to be calling out into a void that we never knew we had, perhaps reminding us again how much we need human touch, friendship, family warmth, and true soul connection.

While we are currently emerging into the light-filled end of this COVID-19 tunnel, it’s important to note that this interview was conducted back in 2020 in the thick of the harshest lockdowns (the taping footage was lost, then finally found). Songs like “Isolation” hit the exact pain point for many artists like Lynn, who once thrived on bringing live-music’s unique sweaty joy to strangers in a new town each night. Her rising calls of “Is anybody out there?” ring like echoes from a very recent bad dream. A dream, of course, that is still very much a painful reality across this country and around the world.

Coming out of the fertile roots rock scene of Athens, GA, Lynn’s earlier records — like the intimate and country-inflected Have You Met Lera Lynn? from 2011 and its pop-forward follow ups The Avenues (2016) and Resistor (2017) — focused mostly on her endlessly warm and rich voice and the fury and frustration she was processing having grown up an only child of an alcoholic dad. But it was her guest-star-laden LP, Plays Well With Others (2018), where Lynn began to realize the extent of her gifted arranging and vocal powers together. Teaming up with a murderer’s row of Americana artists like Shovels & Rope, John Paul White of the Civil Wars, and Rodney Crowell, the album may be the most high-spirited of her works — like a basement party jam session going off the rails in all the best ways.

The tough year at home did make Lynn come to appreciate how far she’s come since those early days — maybe it took a decade of hard-won acceptance and practice to be able to create On My Own without any help from other musicians or producers. The result is a wonder to hear. Now if she could just play it for an actual live audience. Stick around to the end of the episode to hear Lynn introduce her favorite broken-romance number, “So Far.”

Photo credit: Alysse Gafkjen

LISTEN: Shay Martin Lovette, “Parkway Bound”

Posted on by Editor

Artist: Shay Martin Lovette
Hometown: Boone, North Carolina
Song: “Parkway Bound”
Album: Scatter & Gather
Release Date: May 14, 2021

In Their Words: “This song is a tip of the hat to the Blue Ridge Parkway that runs from Great Smoky Mountains National Park on the western edge of North Carolina near Cherokee, to Shenandoah National Park at Rockfish Gap. I consider myself lucky to live near the Blue Ridge Parkway in Boone, North Carolina, and find myself in constant awe of the landscape that this region offers. In ‘Parkway Bound,’ I wanted to capture the natural beauty of the Blue Ridge Mountains in the dead of winter. To me, the hiking trails and scenery in this area offer a means of escape from the confines of normal life and as I got further along in the writing process, I was drawn to the imagery of someone leaving their troubles behind and setting out for the Parkway as I have done so many times. The music could be said to be influenced more by great narrative writers like Norman Blake and Slaid Cleaves than your standard folkies, but there’s a little Townes Van Zandt and Gram Parsons in there.” — Shay Martin Lovette

Photo credit: Julianna Liegel

With Day Jobs on Hold, These Acoustic Musicians Go Solo (Sort Of)

Posted on by Justin Hiltner

The widespread shuttering of the music industry during coronavirus has given many musicians, bands, and artists the opportunity to inspect and reconfigure their priorities. In the many months since COVID-19 was declared a pandemic, this phenomenon has been well-documented in writing about music — music released as a result of the coronavirus or released in its all-eclipsing shadow, both. Artists have altered so many of the ways they interact with and create music and watching creatives respond to this worldwide cataclysm has been all at once entrancing and existential. 

Especially in instrumental music. Especially in instrumental music made in the off time — away from the “day job,” the main gig, or perhaps, again the off time afforded by COVID. In the gaps, where life allows, acoustic musicians in bluegrass, Americana, and old-time have been exploring the existential questions brought about by the pandemic — and also often by parenthood, by identity, by health and well being, or simply by the pursuit of self — in endlessly fascinating musical endeavors.

Andrew Marlin, co-frontperson of longtime Americana string duo Watchhouse (formerly known as Mandolin Orange) released not one but two albums of such endeavors this year, ostensible results of introspection of his role as a father, fighting-while-resigning-to the day-to-day beauties and fears within fatherhood. There’s a bleak, beautiful nakedness to “The Jaybird,” off Fable & Fire, an age-old sounding fiddle tune with sleek, modern simplicities that seem to indicate the gorgeousness possible from being still, watching, waiting, and listening. 

On Witching Hour, “Too Hot To Move” isn’t a barn burner, it’s a Musgraves-level slow burn; a tepid, mosquito-laden, languid afternoon on a back porch, the air thick with humidity. Again, striking in its display of the delectable everyday, in not just occupying the same place with the same people daily, but inhabiting that place with intention. Marlin’s backing band of Clint Mullican (bass), Josh Oliver (guitar, piano, and more), Jordan Tice (guitar, bouzouki), and Christian Sedelmeyer (fiddle) is largely consistent between the projects as well, reiterating this point.

Sara Watkins, known for many a “main gig” — whether that be Watkins Family Hour, Nickel Creek, or I’m With Her — released another fantastic solo offering, built on many of the same tenets evident in Marlin’s recordings. Under the Pepper Tree, whose title track is the album’s sole instrumental, is a whimsical, winking collection of near-lullabies and other ageless classics rendered as only Watkins could, with pop underpinnings and gloss, but a worn, charming patina of bluegrass and Americana via the American Songbook and its associated canon. 

“Under the Pepper Tree” listens like a fiddled campfire coda to a day on the trail; or, similarly, as if a goodnight to Watkins’ young daughter, after returning from tour. While the album as a whole carries the movement and adventure of the Wild West, as well as theatre and cinema and gaiety, its sense of place — of rootedness — is remarkable, especially in “Under the Pepper Tree,” oozing of lessons learned and intentions made underneath its boughs through pandemic isolation. 

Continuing on fiddle, Mike Barnett’s non-Ricky Skaggs & Kentucky Thunder project released in 2020, +1, feels like somewhat familiar territory, a collection of duets with friends and musical compatriots that stretches out purposefully and athletically from his tours with the Country Music Hall of Famer (who also appears on the album). “Piece O’ Shrimp,” with guest Alex Hargreaves on twin fiddle, is wonky, newgrassy, orchestral, and sly with old-time baked in and a dash of Darol Anger & Mike Marshall’s duet work. 

The poetry in the tune, and the entire project really, came from a health-related pausing of a different kind, though. While the rest of us felt the world halt due to the coronavirus, Barnett’s record release, as well as his performing career, were unexpectedly paused when Barnett suffered a cerebral hemorrhage in July 2020. This collection of songs gains an entirely new meaning, not only in the context of COVID-19, but also as a waypoint on Barnett’s journey through music, his recovery, and his eventual return to playing. Still in in-patient rehabilitation and therapy, Barnett posted an update via GoFundMe (support here) in February 2021 that closed, “…A full recovery is possible and likely!” 

Finally, to conclude our foray into solo instrumental explorations, Sam Armstrong-Zickefoose, multi-instrumentalist and songwriter of Meadow Mountain, considers ideas of place, identity, and belonging on his upcoming crowdfunded release, Spark in Your Smile. Decidedly forsaking tradition-adjacency, perhaps more than might be expected if a listener’s entry point is Meadow Mountain, the album is a testament to Armstrong-Zickefoose’s commitment to community building; he’s utilizing music and creative expression for that purpose. The expansive quality of the project’s lack of genre conjures joy first and foremost, especially on “Mona,” and globe-crossing communities as a near second, each instrument, texture, and tone evidence of what’s possible when roots music allows folks to be and to belong. A priority high on everyone’s list, but especially queer folks in bluegrass, old-time, and Americana like Armstrong-Zickefoose.

As touring bands return to the road, it will continue to be fascinating to watch musicians navigate the reconfiguration of their priorities — and how they will continue to carve out the time to express themselves, instrumentally and otherwise, while life, and the music industry, charges on ahead.

Photo credit: Sara Watkins by Jacob Boll; Andrew Marlin by Lindsey Rome.

The BGS Radio Hour – Episode 206

Posted on by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week, we bring you new music from jam-grass band Leftover Salmon, the debut single from Watchhouse (formerly known as Mandolin Orange,) and so much more! Remember to check back every week for a new episode of the BGS Radio Hour.

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Leftover Salmon – “Boogie Grass Band”

Leftover Salmon has been playing what you could call “boogie grass” for over 30 years now. After their COVID-induced live music hiatus, the founding Colorado jam-grass band brings us a new album Brand New Good Old Days, and this next song celebrates that boogie grass sound that everyone loves.

Avi Kaplan – “Song for the Thankful”

Avi Kaplan brings us a song about finding gratitude and beauty in every realm of life, good or bad. His hope for the listener is that they can “find gratitude in their life regardless of what end of the spectrum they are currently in.”

Peggy Seeger – “Lubrication”

As our Artist of the Month for April Peggy Seeger put it herself, “Folk is full of raunchy songs, but they’re not often sung.” In our recent interview, and on her recent album First Farewell, Seeger ruminates on the joys and sorrows of aging.

Sam Armstrong-Zickefoose – “Heart of Mine”

Sam Armstrong-Zickefoose wrote this song about feeling you’re on the outside looking in. Sometimes even after moving towards the direction of “fitting in,” it’s still easy to feel out of place.

John R. Miller – “Faustina”

John R. Miller is a true West Virginia picker-singer-songwriter if there ever was one. While inspired by folks like John Prine and Steve Earle, Miller is celebrated among the same stature — including by his friend from the same region, Tyler Childers. We mark John R. Miller’s 2021 signing with Rounder Records with “Faustina,” a single that brings promise of a great debut record.

Lady Nade – “Willing”

From Bristol, UK, Lady Nade wrote “Willing” to foster acceptance, loyalty, and friendship. The video was filmed in her hometown along the route of a Black Lives Matter protest last summer. As she explains, “the way the video and song came together portray the message of self, as well as community.”

John Mailander’s Forecast – “Returning”

For fiddler John Mailander, “Returning” captures the collective feeling amongst the musicians in the studio playing together at the time of recording, the rediscovery of connection and joy after so many months of isolation.

Watchhouse – “Better Way”

After more than ten years as the duo Mandolin Orange, burdened by the dichotomy between the name and the music they strived to create, Andrew Marlin and Emily Frantz changed their name to Watchhouse, deciding through the COVID-19 pandemic that the time for change was now, given the growing and soon-to-be opportunities for bands to share their music on a live stage again. Here’s their first single since the change!

Alex Heflin – “Guest Room”

With his new album, Room for Everyone, Alex Heflin intends to highlight that inclusivity in both genre and personality always adds interest and excitement to a medium. In this case, the track “Guest Room” benefits from that approach.

Zach Schmidt – “I Can’t Dance”

Zach Schmidt spoke with BGS in a recent edition of 5+5 on the influence of Guy Clark – and greasy enchiladas! – on facing loss and working through it, spending time with Mother Earth, and more.

Mark Rubin, Jew of Oklahoma (feat. Danny Barnes) – “My Resting Place”

Mark Rubin wrote this old-time bluegrass number inspired by the drive of Jimmy Martin, yet based on a 100-year-old Yiddish poem. He says, “If I’m being honest, I wrote it with Del McCoury in mind as the thought of a 100-year-old Yiddish labor ballad sung on bluegrass stages cheers me to no end.”

Richie Furay – “Go and Say Goodbye (Live)”

Rock and roll legend Richie Furay’s new collection 50th Anniversary Return to the Troubadour celebrates his long career with bands like Poco and Buffalo Springfield — and his connection with former bandmate Stephen Stills’ music remains as strong as ever. Furay has recorded this song, written by Stills, with every band he’s been a part of over a half-century career.

The Rose Petals – “They Say You Loved a Good Man”

“They Say You Loved a Good Man” was written about former president Calvin Coolidge and his wife Grace, but ultimately, it’s a song about regret — living your life with the best intentions, yet still falling short of expectations.

Abby Hollander Band – “Still Got It Bad”

Abby Hollander recently joined BGS for a 5+5 — that is, five questions and five songs — and brought us this tender bluegrass heartbreak tune.

Photos: (L to R) Peggy Seeger by Vicki Sharp; Watchhouse by Kendall Bailey; Avi Kaplan by Bree Marie Fish

WATCH: Christina Alden & Alex Patterson, “Hunter”

Posted on by Editor

Artist: Christina Alden & Alex Patterson
Hometown: Norwich, UK
Song: “Hunter”
Album: Hunter
Release Date: May 7, 2021

In Their Words: “This is a story of unusual friendship and strength in companionship, inspired by the beautiful work of Finnish photographer Lassi Rautiainen. In Finland’s northern forests a grey wolf and a brown bear — two typically solitary animals — were found to have formed a magical bond; playing, eating and hunting together. We loved the imagery of old pines and misty lands setting the scene for this natural wonder. Recorded at home in Norwich during the lockdown of 2020/2021.” — Christina Alden & Alex Patterson

Photo credit: Ben Alden

Artist of the Month: Allison Russell

Posted on by Editor

Allison Russell has already made an exceptional impression in roots music — first in the duo Birds of Chicago, then as a member of Our Native Daughters. Now with her new album Outside Child, she’s putting her own story front and center. Whether she’s singing in English or French, Russell’s voice feels like satin, comfortable and cool. Yet she weaves some of the most painful memories of her formative years in Montréal into the fabric of her Fantasy Recordings debut.

Special guests on the album include the McCrary Sisters, Ruth Moody, Erin Rae, and Yola. Upon revealing the project, Russell wrote, “This is my first solo album. It is acutely personal. It was hard for me to write, harder still to sing, play, and share. Also a relief. Like sucking the poison from a snake bite. Thanks to the supreme empathy, musicality, kindness, sensitivity, and humour of each artist who brought these songs to life with me, the recording process became — by some mystical alchemy –joyous and empowering…. Eased by loving communal laughter as much as shared tears.”

Specifically pulling from the childhood trauma she experienced at the hands of her stepfather, she adds, “This is my attempt at truth and reconciliation and forgiveness — a reckoning and a remembrance. This is my attempt to be the hero of my own history, despite the shame that has been my closest and constant companion all these years.”

We are proud to present Allison Russell as our BGS Artist of the Month for May. In the days ahead, look for a new performance video, an exclusive interview (read part one here)(read part two here), and a sleek style shoot with this singular artist, who now calls Nashville home alongside her partner JT Nero and their young daughter. Discover more of her musical journey with our BGS Essentials playlist.

Photo credit: Marc Baptiste

LISTEN: Carsie Blanton, “Mercy”

Posted on by Editor

Artist: Carsie Blanton
Hometown: Philly (via New Orleans and Virginia!)
Song: “Mercy”
Album: LOVE & RAGE
Release Date: April 30, 2021
Label: So Ferocious Records

In Their Words: “I wrote ‘Mercy’ for my husband Jon, who I’ve been with for thirteen years. My early experiences of love were a mixed bag; what seemed like love was often more about control. Through Jon, I found out that love can be a gentle force that allows us to become more ourselves. Once I discovered that, I was able to envision a whole world of love; a world that’s less about control and more about compassion.” — Carsie Blanton

Photo credit: Shervin Lainez

LISTEN: Beth Whitney, “I Go”

Posted on by Editor

Artist: Beth Whitney
Hometown: Leavenworth, Washington
Song: “I Go”
Album: Into The Ground
Release Date: May 28, 2021
Label: Tone Tree Music

In Their Words: “In the 1960s, my grandparents started a tradition in our family called ‘the 9-day Backpack’ that continues in different forms to this day. I’ve joined about five of these and to tell the truth, I do not backpack gracefully. Mosquito and horse fly bites turn into big welts. I’m blistered from boots and bright pink from the sun… but as the wilderness takes me in, it starts to heal me somehow and I come into focus.

“I wrote this one with Gina Belliveau and Brittany Alvis at a songwriting retreat some friends and I hosted in the mountains. The assignment was to write a song inspired by one of our favorite poems, ‘The Peace of the Wild Things,’ by Wendell Berry. These two were a joy to write with and are both featured in the recording.” — Beth Whitney

Photo credit: Eratosthenes Fackenthall