Tag: Good Country

With a New Album, ‘No Fear,’ Sister Sadie Once Again Go “All In”

Posted on by Justin Hiltner

Last month, Sister Sadie took the stage at Nashville’s Station Inn to showcase and celebrate their latest album, No Fear. And although the title itself could be an ode to the group’s unrelenting urge to hop genre fences – from bluegrass to country to pop and back again – it’s also a nod to the resiliency of the band itself.

With No Fear, Sister Sadie showcase three-part, songbird harmonies backed by a keen musical aptitude that’s equally distributed throughout the quintet. The 13-song LP combines the “high, lonesome sound” of bluegrass with a blend of country and pop sensibilities a la The Chicks, Little Big Town, or Pistol Annies.

“There’s a space for bluegrass meets Americana meets country meets pop — that’s what I’m manifesting,” says fiddler and de facto band leader, Deanie Richardson.

To note, the Station Inn appearance was a full-circle sort of thing for the ensemble. First coming together at the storied venue by pure happenstance in December 2012, Richardson, banjoist Gena Britt, and former members guitarist Dale Ann Bradley, bassist Beth Lawrence, and mandolinist Tina Adair were simply a collection of pickers and singers from different circles in Music City.

That initial gig went extremely well, so much so that more shows were booked and things started to unfold into a full-fledged band – albeit one where the members still held day jobs and were raising families. But, the music felt right and so did the performances, so why not tempt fate and see where this ride may go?

Well, what a ride it has been thus far. Appearances on the Grand Ole Opry. Three IBMA awards for Vocal Group of the Year (2019, 2020, 2021) and one for Entertainer of the Year (2020), with Richardson taking home Fiddle Player of the Year in 2020. And a Grammy nomination for Best Bluegrass Album for the 2018 release, Sister Sadie II.

But, in recent years, three of those founding members — Bradley, Lawrence, and Adair — left to pursue other projects, which, in turn, posed one lingering question to Richardson and Britt — where to from here?

“When we started 12 years ago, when we hit that first note at the Station Inn, we felt this magical chemistry in the band,” Richardson says. “Somehow, every time we reinvent this [band], I still feel that magical chemistry when we play music.”

Instead of throwing in the towel and saying it was good while it lasted, Richardson and Britt forged ahead, come hell or high water. They regrouped and reemerged into this next, unknown chapter. Soon, Jaelee Roberts and Dani Flowers came into the fold, both bringing songwriting prowess as well as providing guitar and vocal harmonies to ideally complement Britt. Then, in 2023, bassist Maddie Dalton hopped onboard.

“It’s an eclectic group of ladies and of musical tastes,” Richardson says. “Our home, our hearts and our souls are in bluegrass music. That’s what we love, that’s our passion, but there’s a lot of room for growth there.”

The new album, it’s not bluegrass. It’s not country. It’s just good music. In my opinion, it would be a shame to pigeonhole your music.

Deanie Richardson: Well, that would be our dream, Garret, for someone to not try to put some sort of label or pigeonhole it into somewhere. But, unfortunately, it happens. We went in there with great tunes and just let them arrange themselves, let them work themselves out in the studio. And this is what we got. So, I didn’t go in with bluegrass in mind. I didn’t go in with country in mind. I just went in with all my pals, people I love — great players and great songs.

Is that more by design or just how things have evolved?

DR: I think that’s how it’s evolved. That was not the original [Sister] Sadie. That’s this combination of girls right here. When you have personnel changes like we’ve have along the way, the energy changes — everything shifts.

Gena Britt: You have to reinvent yourself.

DR: You’ve got to figure out where you land when Jaelee Roberts comes in and changes everything. And then you’ve got to figure out where you land when Dani Flowers comes in. And Maddie Dalton. We’ve had three new members. That changes the energy. It changes the vibe. It changes the feel. It changes the vocals. It changes everything. This whole band has grown organically over the last 12 years. This is just where it is right now. We’re about to go in and record a new one and, shoot, it may sound like ZZ Top. I don’t know — you never know.

And I have a lot of solidarity with that, the attitude of just go in and see what happens, see what sticks and see what works.

Dani Flowers: Every single person in this band is a big fan of good writing and good songs. Just trying to serve the song and make sure it had what it needed rather than trying to put any one certain song in a box that it might not fit in.

How does that play into personal goals with the band’s expectations? There’s a lot of a crossover factor in the music. I hear just as much country as I do bluegrass in there.

GB: We’re just going for what we feel. We want to be excited about the song as we want everybody that’s listening to be excited. When we’re in the studio, these songs were brought to life in such a great way.

With the new members, what was kind of the intent coming into the group?

Jaelee Roberts: When I was asked to audition, I was kind of flabbergasted, because I looked up to Sister Sadie. These are all my heroes playing together in a band. And I had grown up around them. It was such a surreal feeling to get to audition. I get to not only learn more from them than I was already learning from them, but I get to part of that and grow with them, bring my spin on stuff.

DF: It was definitely a no-brainer for me when it came to joining the band. I’ve known Deanie since I was 16 or 17, Gena since I was 19 or 20. I’ve always admired them both. They’re incredible at what they do. It was really great for me. I was in the music industry for a while. I had a record deal. I wrote for a publishing company. And then, I had a kid and kind of stopped doing it all for a while. So, to join a band full of women that I already love was a great way to get back into playing music.

And with founding members of a band leaving, there’s this creative vacuum that can occur, where maybe there are more opportunities for other people to step up.

DR: Oh, that’s so great, because it’s true. With the personnel changes we’ve had, there’s been more opportunities for different styles, different vocalists, different everything. It’s crazy how that energy shift just redirects everything. You find a new tunnel or rabbit hole to go down or a new vision. It’s super fun to hear those potential songs and figure out whose voice is going to work. If you listen to a song, it actually tells you where it wants to go.

GB: This band is kind of a melting pot. We all bring such different things to the band. And then, when you put it all together and mix it all together, it’s this great recipe for things that are magical. It’s just heartwarming, too. We actually hangout together when we’re not playing on the road — not a lot of bands do that.

With the band shakeup and everything that’s happened to Sister Sadie in recent years — winning the IBMA for Entertainer of the Year, switching record labels to Mountain Home — what made you decide to keep it going? Was there a moment of maybe shutting it down and doing something else?

DR: One hundred percent. You’re on it. With the last personnel change, Gena and I were on the phone like, “We’re 10 years into this thing. Is it time to call it? Maybe it’s just time.” This band happened by just a group of friends getting together and playing the Station Inn. Then, “Hey, that went really well. Let’s playing the Station Inn again.” Then, Gena starts getting calls from promoters. Do a few shows. Then, Pinecastle says, “Hey, let’s do a record.” We do a record. We do another record. We get nominated for a Grammy.

But, we’ve never really gone in 100 percent. It’s just been organic. I’ve got a ton of things going on. I’ve got a seven-year-old. Gena’s got a job and two kids. It’s never like, “Let’s form a band and let’s go do this.” It was always sort of The Seldom Scene thing — we’ll play when it makes sense. And then, I was like, “What if we give this thing everything we’ve got? What if we put in one 110 percent? What if we got a team? What if we got a manager? What if we got a new record label? What if we got a booking agent? Let’s devote one year to this 110 percent and see what happens” — that’s where we are.

I’m 52 years old. I’ve been doing this and on the road since I was 15. This is the best record we’ve ever done. Going all in was the best choice that we could’ve made.

Photo Credit: Eric Ahlgrim

A Little Less Insecure: The Story Behind Brandy Clark’s First Grammy

Posted on by Justin Hiltner

Despite her well-earned reputation as one of Nashville’s strongest songwriters and nuanced singers, Brandy Clark had gotten used to not hearing her name called at Grammy Awards ceremonies. Two years ago, her friend Brandi Carlile decided to do something about that. Carlile produced Clark’s fourth studio album, Brandy Clark, which earned five of the six nominations she got this year, upping her tally to 17 — one of which turned into her first win. Clark was honored for Best Americana Performance for “Dear Insecurity,” a duet with Carlile. After her win, Clark told a backstage interviewer, “Brandi is the reason why I made this record and why this song is what it is.”

But as Clark explained in an earlier BGS interview, the catalyst for that collaboration — her most personal, affecting work yet — was one of those Grammys she didn’t win.

So how did Brandi’s involvement come about?

Brandy Clark: The label wanted me to record two more songs for a deluxe version of Your Life is a Record. I had made that record with Jay Joyce, and he couldn’t do it. Tracy Gershon, a mutual friend of Brandi and I, said, “What if Brandi produced?” And Brandi was willing to do it. It was a really good experience, mostly because Brandi really follows her gut instinct, which is so amazing. I tend to overthink. And then “Same Devil,” which was part of that, ended up nominated at the next Grammys. We didn’t win, and she leaned over to me and said I looked really devastated. I didn’t remember feeling particularly devastated, but she said I just looked really sad, so she said, “Hey, buddy, we’ll get one. I’d love to do a whole record with you.” I was like, “Really?” And she said, “Yeah, I’ve thought about it. I think these things through when I get involved in a project; I think about the artwork, I think about everything. I’d see it as your return to the Northwest, because I’m from the Northwest.”

It was such a different experience for me, because Brandi’s an artist. I think producers lead with whatever their original instrument is; if they were a guitar player, they lead with that. If they were a songwriter, they lead with that. I’ve never worked with a producer that could sing to me what they heard, and also keep me from over-singing. And she wanted as many live vocals as possible. That was different for me. And she really challenged me to get to the heart of who I am as an artist. No producer’s ever asked me to make lyric changes; she said, “I just want to believe that you believe everything you’re saying.”

What’s an example of a lyric she asked you to change?

“Buried;” the second verse used to start out, “I’ll read ‘Lonesome Dove,’ I’ll start doing yoga,” and she said, “I don’t like that yoga line.” I was thinking, “I don’t care if you like it or not.” That was my first [reaction]. I said, “Why not?” She’s like, “Well, I just don’t believe that you do yoga.” I said, “I don’t.” She’s like, “Then it shouldn’t be in the song.” And she was right.

You do heartbreak songs so extraordinarily well. Even the ones that aren’t sometimes feel like heartbreak songs, because they’re so full of emotion. “Dear Insecurity” — to hear that coming from the perspective of two women who are both stars now, and yet it’s so believable — it’s not like two women just singing “Oh, yeah, we’re insecure,” you really believe it. That’s what’s so striking about all of your songwriting, but to be able to do that, and do it well, and to know that it doesn’t matter how big you get, you still experience that …

Oh, I have massive insecurities. I think everybody does. That’s why I think that song hits; to be human is to be insecure. And the more willing you are to admit those insecurities, the less they rule you. That song came from— I had gotten my feelings hurt. A really great friend of mine says insecurity is the ugliest human emotion; it’s what makes people do mean things. So I was trying to remember that on the way to my writing appointment that morning, because I wanted to get into a good headspace to write with someone I had never written with. When I was sitting in the car, I started to think about my own insecurities, and the things that they have messed up along the way for me. I thought, “Wouldn’t that be something, to write a letter to insecurity?”

Why did you and Brandi choose to duet on that song?

Well, going in, I never heard that song as a duet. The first day we were in the studio, she said, “What do you think about ‘Dear Insecurity’ being a duet?” I loved the idea; I heard it as a duet with a guy, because men have insecurities just like women do. She really wanted Lucinda Williams. Because we hadn’t secured anybody yet, she said, “I’ll sing the scratch [vocal], and then we’ll see about getting Lucinda in here.” So she started to sing, and we really got lost in it.

Brandi had also been pretty adamant that she didn’t want to be a feature on this record, because of producing it, and because we had done that other feature, [“Same Devil”]. She just didn’t want it to look like she was trying to get featured. But when it was going down, I could just feel this magic happening. When I listened to the board mix, I thought, “Oh, God, what am I going to do? I don’t want to hear anybody but her on this now.” I loved the way that our voices battled each other and melded together. So I said the next day, “Brandi, I really want it to be you.” And she was like, “Oh, that’s all you had to say.” It was perfect because we have similar insecurities. We’re around the same age, both gay, like, there’s insecurities in that. We’re very similar, and very different. And it just worked.

In what other ways did she influence or impact this album?

There were a couple of things that I’ll take with me forever. When she was asking me to make lyric changes, that really bothered me. It felt disrespectful to the co-writers to do that on the fly, and I told her that. I said, “These songs, none of them were just slapped together, because I don’t write that way.” No offense to anyone who does, I just have to put a lot of thought into songs for ’em to be good. And it took other people to write these songs that I respect and that put their heart and soul into this, too. And I like to be in service to the song. And she said, “Well, I understand that. I think this time, you need to be in service to the artist.” It put me in a different space as an artist than I’ve ever been in. I always come at things as a songwriter first. This record, I came at it as an artist first.

The other thing – and I’m so glad that I asked her this question, and that she answered it the way she did, because it makes me think differently; I’ve never worked with a producer on a record that I was a co-writer with. So they’re always, to me, the last writer on the songs. The positive is that they’re making choices based on what they feel when they hear them the first time, like a listener. …I always give a producer probably 18 to 24 songs, then I’m just too close to pick the 10 or 12. So she picked the songs that she thought should be on this record. When she gave me her list of what she really wanted us to dive into, I said, “Why did you choose those 10?” And she said, “Well, they were all great songs; but I chose the songs that I felt like you wrote in your bedroom.” That was such a great thing… it reminded me that when all of us picked up a guitar or pad of paper the first time, it wasn’t to impress anybody. It was to just get some emotion out that we could only get out through song.

There’s another song on here, “She Smoked in the House,” that I wrote about my grandma that I never thought would be on any record. I thought I was just writing it for me. People have responded so strongly to that song, it just helps me know I need to double down on me and what I’m feeling, instead of what I think people want to hear. That sounds really simple, but it’s easy to forget that if we’re feeling something, other people are gonna feel it. And if we’re not, nobody’s gonna feel it.

You once told me your mission was to write a classic like “Crazy.” While listening to this album and Shucked [the Broadway musical for which she and Shane McAnally co-wrote the music and lyrics], it occurred to me that you have. A song like “Friends,” that’s gonna be sung at thousands of weddings and graduations, and “Take Mine” and “Up Above the Clouds” and these other tracks… I kept thinking of the great Randy Newman tearjerker songs in Pixar films.

I’ve always thought “Up Above the Clouds” should be in one of those.

Totally! Are you working on that?

Yes. It makes me feel amazing that you feel like I have written a classic song like that. I’m going to hang on to that today, and then I’m going to let it go. Because what keeps me hungry as a songwriter is to think I haven’t.

You mentioned you might do something else with Brandi. Are you already talking about that?

No, but we clearly work well together and people like what we do. She’s a little bit like Shane for me; I feel like the sum of our parts is greater than two people.

I love that you’re all part of this connected group of people, especially women. I remember Allison Russell crediting Brandi with elevating her family out of poverty, and to be able to do that for so many people …

That’s a testament to Brandi. She’s on top of the world and she’s choosing to elevate other people; she said to me when she approached me about this, “You deserve to be in the same spot as me on festival posters. That’s what I want.” A lot of people have a scarcity mindset. She has an abundant mindset and wants to raise up the music of other people that inspires her. That inspires me to do the same.

My trajectory is on a really great path right now. And then I look to someone like her and think, “OK, where do I pay it forward? Where do I lift someone else up?” Because it’s really easy when you’re just grinding and trying to get your own star to rise, to not look around and think, “Oh, how can I help someone else?” But she really inspires me to do that.

Photo Credit: Victoria Stevens

Real Roots Radio, BGS, and Good Country Partner on Women’s History Spotlight

Posted on by Justin Hiltner

March is Women’s History Month, and BGS, Good Country, and Real Roots Radio have partnered to highlight a variety of our favorite women in country, bluegrass, and roots music with our Women’s History Spotlight.

Each weekday in March at 11AM Eastern (8AM Pacific) on Real Roots Radio, host Daniel Mullins will be celebrating a powerful woman in roots music during the Women’s History Spotlight segment of The Daniel Mullins Midday Music Spectacular. Then, we will have a Friday recap here on BGS featuring the artists highlighted throughout the previous week. No list is comprehensive, but we hope to feature some familiar favorites as well as some trailblazers whose music and impact might not be as familiar to you.

You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. You can also ask your smart speaker at home to play “Real Roots Radio.” Based out of southwestern Ohio, we feature the best in country, bluegrass, and Americana music — past and present.

Each week in March, we hope you enjoy learning more about the incredible women who have made American roots music what it is today.

Patsy Cline

One of the most impactful voices in 20th century American music, Patsy Cline’s legacy still looms large over country music. An crossover star in the genre, her timeless voice has influenced generations of country stars — Loretta Lynn, k.d. lang, Mandy Barnett, and countless others. The strength and emotion with which she sang endeared her to music fans of all walks of life; she has sold over 14 million albums and had songs on the country charts two decades after her untimely passing. Her 1973 posthumous induction into the Country Music Hall of Fame made her the first solo female artist inducted into the hallowed hall.

This week marked the anniversary of the tragic 1963 plane accident that took the lives of Patsy Cline, Cowboy Copas, Hawkshaw Hawkins, and their pilot, Randy Hughes. Although she passed away at the age of 32, there is always Patsy Cline.

Lynn Morris

A recent inductee into the Bluegrass Music Hall of Fame, Lynn Morris is renowned in bluegrass circles for her virtuosity as a musician and her sincerity as a vocalist. The first person to win the National Banjo Championship in Winfield, Kansas twice, she is also a fantastic guitar player. After playing with Whetstone Run throughout much of the 1980s, she founded The Lynn Morris Band in 1988. Anchored by her heartfelt voice, The Lynn Morris Band featured a who’s who of future bluegrass stars over the years, including Jesse Brock, Ron Stewart, Chris Jones, Tom Adams, Jeff Autry, Audie Blaylock, and Marshall Wilborn (Lynn’s husband), among many others. She was forced to retire in 2003 due to a stroke, but her love for animals and radiant smile have continue to inspire the bluegrass community.

Connie Smith

Connie Smith was discovered at a talent contest in Columbus, Ohio at the famed Frontier Ranch by Bill Anderson, who quickly got her to Nashville where her debut single, “Once A Day,” shot to the top of the charts (her only number one hit). Connie Smith was an instant star. After many hit records, she semi-retired beginning in the late ’70s, only working sparingly while she raised her children, until she mounted a comeback in the mid ’90s. She continues to captivate Opry audiences, is still releasing powerful country albums, and was inducted into the Country Music Hall of Fame in 2012. Once billed as “Miss Cute ’n’ Country,” Eddie Stubbs more aptly (and more appropriately) dubbed her “The Rolls Royce of Country Music Singers.”

Paulette Carlson

’80s and ’90s country still slaps (which is one of the few things people can agree on these days), and if you’re familiar with country music from that era, you’re definitely familiar with the voice of Paulette Carlson. A Minnesota native, her talent quickly outgrew the bars of Minneapolis and Fargo, North Dakota and she moved to Music City in the late ’70s. After working as a songwriter and releasing a few songs on her own, she formed the band Highway 101 in 1986.

On the strength of Paulette’s distinct vocals, Highway 101 quickly began churning out hit records, like “Whiskey, If You Were A Woman,” “Walkin’, Talkin’, Cryin’,” “Barely Beatin’ Broken Heart,” and their breakthrough hit, “The Bed You Made For Me” (written by Carlson). Highway 101 received “Vocal Group of the Year” honors in 1988 and 1989 at both the CMA and ACM awards. Paulette Carlson left the band in 1990 to pursue a solo career, but failed to reach the commercial success that she achieved while leading Highway 101. In recent years, she has resumed recording touring, with several songs saluting the military, inspired by her brother Gary, a Vietnam War veteran.

Lee Ann Womack

One of the most revered country vocalists of her generation, Lee Ann Womack’s impact on the current generation of female vocalists is obvious. In bluegrass alone, Sister Sadie’s Dani Flowers and Jaelee Roberts both point to her as a major influence, and before that, Flatt Lonesome’s Charli Robertson and Kelsi Harrigill did the same.

While “I Hope You Dance” is still played at nearly every graduation ceremony and high school prom, the depth of Womack’s talent and catalog is remarkable. Her ability to combine her style of traditional country with contemporary elements has allowed her to find great success outside of the genre, while unashamedly being an advocate for country music. In addition to some killer records of her own in recent years (I’m looking straight at you, The Lonely, The Lonesome & The Gone), the timelessness of her voice and the respect she has among her peers has allowed her name to pop up on some amazing all-star albums that truly run the gamut. I implore you to check out her contributions to Divided & United: Songs of the Civil War, last year’s Nashville tribute to the music of Bill & Gloria Gather, the country tribute to Elton John (Restoration), the Fisk Jubilee Singer’s 150th anniversary project, and the award-winning Industrial Strength Bluegrass album.

Patsy Montana

Born Rubye Rose Blevins, Patsy Montana was the original singin’ cowgirl. Her musical talent really blossomed during her time studying at what is now UCLA, where she studied violin, sang, played guitar, and yodeled on the side (which would remain a prominent part of her music). She traveled to Chicago’s World Fair with the hopes of receiving recognition for her family’s watermelon that she toted from Arkansas, but wound up auditioning for WLS’s National Barn Dance, becoming a part of the cast, and quickly becoming a radio star.

Her 1935 hit, “I Wanna Be A Cowboy’s Sweetheart,” would be country music’s first million-selling single by a female artist. She performed on WLS’s airwaves until the 1950s, until she took time off from the music business, but would continue to record occasionally into the 1990s. (Her 1964 album even featured a young lead guitarist named Waylon Jennings, before he was a household name.) Her impact in the early days of country music is remarkable as a trailblazer in the genre. A member of the Country Music Hall of Fame, Patsy Montana is known to have been an influence on future Hall of Famers like Patsy Cline and Dottie West.

It’s also not a stretch that Patsy Montana may have inspired Jessie the Yodeling Cowgirl from the Toy Story franchise… Well, at least it is known that the singing voice of Jessie, Devon Dawson, is influenced by Patsy Montana, but Jessie herself seemed pretty excited to receive the “Patsy Montana Award” by the National Cowgirl Museum in 2000. (Yes. This is actually happened.)

We hope you enjoyed this first installment of our Women’s History Spotlight presented by Real Roots Radio, Good Country, and BGS. Stay tuned for weekly updates each Friday in March.

 

Lizzie No: The GOAT on Gender, Tiaras, and Leveling Up (Basic Folk)

Posted on by Shelby Williamson

Bestie Lizzie No has just released their career-defining new record, Halfsies, and we are 100% here for it on our 250th episode! Lizzie, who co-hosts Basic Folk, put her entire being, identity, and creativity into this project. There’s a lot going on with their main character, the avatar Miss Freedomland, and we’re getting to the bottom of it in our conversation.

Our hero’s journey begins even before the main character is born. Her inception grew out of disdain for childhood beauty pageants – which Lizzie’s mother actually won back in the early ’60s at a now defunct amusement park called Freedomland. And, there are photos of Little Catherine Quinlan with a look of disgust on her five-year-old face. Lizzie grew up with this story and as she got older, she began to think hard about societal expectations and the stock put into women and children’s emotional expression through their faces. Lizzie also grew up hearing and saying the word “No,” hence the stage name.

LISTEN: APPLE • SPOTIFY • STITCHER • AMAZON • MP3

Enter Miss Freedomland! (Also the name of Lizzie’s new record label.) She has been tasked with a journey to become free, which will require inner healing, exploration of self-identity, and giving up performance of gender that just feels wrong. The album starts with our main character trying to level up (because, yes, this is a video game) with her own self-expression, revisiting past traumas and shedding the baggage and hot garbage that got her trapped in the first place.

In our conversation, we go track by track through this showstopper of a record and even get some solo live performances. I hope you enjoy exploring Lizzie’s world as much as I did. These songs are brilliant and the concept executed remarkably. Thanks to Studio 9 in North Adams, Massachusetts for the use of their beautiful studio!

Photo Credit: Cole Nielsen

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

Posted on by Justin Hiltner

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.

Watch Tracy Chapman and Luke Combs’ Stunning Performance of “Fast Car”

Posted on by Justin Hiltner

Since the Grammy Awards ceremony on February 4, the country and folk music worlds have waited with bated breath for the Recording Academy to share a stand-alone video of Tracy Chapman and Luke Combs’ stunning collaboration on their mutual, cross-generational hit, “Fast Car.” Late last week, the Academy made our dreams come true – you can now watch the performance in its entirety. (View above.)

The song was a highlight of the Grammys’ primetime telecast and, to its global audience and more than one commentator, signaled a sense of unity and come-togetherness that many feel is woefully lacking in the current zeitgeist, news cycle, and pop culture content machines. Chapman seemed to glow while Combs quite obviously basked in her limelight, content in sharing the stage and the iconic song with one of his childhood heroes. Chapman, something of a recluse in the past two decades, occupied the enormous Crypto.com Arena stage with a quiet confidence and an undercurrent of joy. An electric energy emanated from her guitar strings as she picked the unmistakable melodic hook. Then, on the song’s soaring chorus, the two sang in unison, finding power and common ground in a lyric that has now been sung, heard, and enjoyed by millions more – and entirely new generations.

In the audience, celebrities and musicians like Taylor Swift, Michael Trotter of the War and Treaty, Brandi Carlile, and many more sang along boisterously, indicating the staying power of the song and its lyrics – and the long-lasting adoration held by so many for Chapman.

“Fast Car” will continue to resonate long into the future – and not just on road trip playlists. It’s a perfect, sonic example of the angst endemic to the American dream, of queer placemaking and history-telling, and of all the ways a story so specific, granular, and microscopic could feel entirely universal and relatable. There’s a reason why so many listeners have needed reminding that Combs didn’t, in fact, write the song himself – no matter who we are, where we come from, or who we love, we all so easily see ourselves reflected in “Fast Car.” We’re each hungry for that reflection; “Fast Car” is satiating and then some.

For a brief moment during the Grammys’ 66th Awards Ceremony, we were all contented, joyful passengers in Chapman and Combs’ cosmic “Fast Car.” Let’s each take time to continue to inhabit that moment, as we navigate the traffic of our busy, distinct, distracting, and often divided lives.

 

Folk Alliance International Brings Musical Alchemy to Kansas City

Posted on by Justin Hiltner

From February 21 to 25 the global folk music community will descend on Kansas City for Folk Alliance International’s 36th annual conference. This year, the event’s theme is Alchemy: A Transformative Force, as the non-profit organization puts it: “Showcasing the power of music to provide the change needed in the world.”

“The power of alchemy can manifest, for example, when an artist processes their individual pain into words and vibrations that connect and comfort listeners,” FAI continued via press release. “The alchemy theme invites us to lean into processes of discovery and experimentation and to think about how we nurture the sparks of creativity that light fires of change…”

Over five days at the Westin Kansas City at Crown Center the conference will feature a variety of panels, keynote addresses, networking events, education, and – of course – limitless music. Between official and private showcases there will be reportedly more than 2,000 performances by folk musicians from across the genre spectrum. This year, there will also be a handful of summits held during the conference including a wellness summit, a legal summit, The Black American Music Summit, and the Indigenous Music Summit. The event’s keynote speakers include Noel Paul Stookey (of Peter, Paul and Mary), singer/composer and Grammy-winner Lucy Kalantari, and David Israelite (President and CEO of the National Music Publishers Association).

BGS will be on hand for FAI 2024, as well! With our friends from Good Folk we’ll be hosting “The Good Room” (#717 at the Westin) featuring three nights of music celebrating Good Folk, BGS, and Good Country. See artists and performers like Nat Myers, Willi Carlisle, Kyshona, AJ Lee & Blue Summit, Humbird, and many more Thursday, Friday, and Saturday nights at the conference. (Full schedule below.)

To prepare for the big week, we want to share a few events, artists, showcases, and highlights we’ve got on our schedule for next week’s Folk Alliance International in Kansas City. You can still register for the conference and join us as we celebrate and learn from folk music alchemy!

The International Folk Music Awards

On Wednesday, February 21, the opening day of the conference, the International Folk Music Awards will be handed out in an evening ceremony. Based on members’ votes, the organization will hand out awards for Album of the Year, Artist of the Year, and Song of the Year, as well as a handful of Spirit of Folk awards, several Lifetime Achievement honors, and inductions into the Folk Radio Hall of Fame. Plus, FAI hands out three very special, activism- and impact-geared recognitions as well: the Rising Tide Award (recipient Sara Curruchich), the People’s Voice Award (recipient Alynda Segarra), and the Clearwater Award (recipient LEAF Global Arts Festival).

Not attending FAI or able to make the IFMAs on Wednesday night? Do not worry! Like years prior, you will be able to stream the awards via Folk Alliance’s YouTube Channel.

The Indigenous Music Summit

For the first time since FAI 2020, the Indigenous Music Summit will return to the conference for an Indigenous Community Gathering. It’s something of a precursor of the organization’s banner 2024 event, to be held in what’s now called Toronto at the beginning of June. Though the gathering on Friday at Folk Alliance 2024 is open only to Indigenous delegates, there will be an IMS showcase also on Friday from 11:30pm to 2:30am in the Pershing Place ballroom that’s open to all attendees. Be sure to catch showcase performances by Mikhail Laxton, Ila Barker, Nimkii and the Niniis, Andrina Turenne, Olivia Komahcheet, and Shauit.

The Good Room

Good Folk LA, BGS, and Good Country combine to bring you three evenings of excellent roots music in room 717 at the Westin Kansas City at Crown Center. See the full schedule for our private showcase above. The first night, programmed in partnership with Abby Litman of Good Folk LA, will feature Humbird, Hannah Connolly, and many more. Our BGS geared night will include bluegrass (AJ Lee & Blue Summit), country (Mary Bragg), blues (Nat Myers), and so many more styles and sounds. The final night, celebrating our new brand and email newsletter Good Country, will culminate with a rowdy and fun Hootenanny Jam, preceded by our current Artist of the Month Willi Carlisle, Kaïa Kater, Malachi Graham, and more.

We hope you’ll stop by room 717 while you’re at Folk Alliance to say hey, have a beer or seltzer, and enjoy some first class folk, bluegrass, country, and beyond.

Keynote Addresses

Folk Alliance always boasts a jaw-dropping slate of keynote addresses – as well as panels, discussions, affinity groups, and more. This year’s conference will continue that excellent track record with keynote addresses and conversations that feature five-time Grammy Award-winner Noel Paul Stookey of Peter, Paul and Mary; two-time Grammy Award-winner and Latin Grammy nominee, Lucy Kalantari; and President and CEO of the National Music Publishers Association (NMPA), David Israelite.

Hear Stookey in conversation with Deana McCloud on Thursday, February 22 at 2:00pm, as the pair chat about “Alchemy Through the Years.” Folk Alliance had this to say about the session in their official schedule: “Noel Paul Stookey has been altering both the musical and ethical landscape of this country and the world for decades – both as the ‘Paul’ of the legendary Peter, Paul and Mary and as an independent musician who passionately believes in bringing the spiritual into the practice of daily life.”

David Israelite will speak on the Value and Creativity of Creators on Friday, February 23 at 3:30pm, “[speaking] on the value to society of creativity and creators, addressing the needs of those benefiting from the use of music to support and respect the contributions of the folks making music.” The event description continues: “The importance of staying vigilant in the protection of our cultural contribution and providing for sustainability is key. We can’t allow for a ‘scorched earth policy’ that has become of the approach of certain music users because songwriters and music publishers, many of which are small businesses, need certainty and reliability on knowing what their income is and will be, in order to keep creating and providing society with the impactful alchemic process that it advances in communities globally.”

Finally on Saturday at 10:30am, Lucy Kalantari will speak on “Producing Alchemy” with Austin-based musician and activist SaulPaul facilitating the conversation. “Lucy Kalintari [will speak] on transforming creativity while helping artists transform stories and sounds. Explore the alchemy of an idea transmitted to an audience. She will [be] discussing the alchemy of collaboration, when artists work within a genre to push its conventions, and when artists cross ‘genres’ to collaborate.”

If you’re ready for an alchemical week, these Folk Alliance keynote speakers will equip you for getting the most out of this year’s conference, programming, and theme. Find a current schedule of conference events, panels, and sessions here.

Showcases, Showcases, Showcases!


Folk Alliance proudly advertises their conference as gathering more than 2,000 showcases under one roof and, in the pantheon of music festivals, conferences, and the like they certainly stand out in the quality and efficacy of their showcases. Whether official or private, there are truly countless opportunities to hear the most buzzed about newcomers, true living legends, and newly discovered talents, too. Besides our own lineup for our private showcase in room 717 (see the schedule above), here are a few official and private showcasing artists we’re excited to catch at Folk Alliance.

See the full list of showcasing artists and schedule of performances here.

Liv Greene

We love Liv Greene’s music, especially this almost four-year-old number, and are really looking forward to their upcoming, yet-to-be-announced album. We’re hoping to catch some of that new material during Folk Alliance, so when you encounter this heartfelt, poetic songwriter during the conference, keep your ears open for new songs – we hear they are coming. (Read more about Liv in a recent Out Now interview.)

ISMAY

ISMAY’s pastoral, Northern California country is effortlessly raw and real – they did make it onto our “Three Chords and… Authenticity” Good Country playlist, after all. We’re excited to hear some of their just released album, Desert Pavement, at their Folk Alliance showcases as well as catching the screening of their new film, Finding Lucinda, on Friday at 3:30pm. Our own managing editor, Justin Hiltner, will lead the Q&A following the screening of the film, which tells a story of Lucinda’s remarkable path as a legendary artist through the eyes of ISMAY (AKA Avery Hellman.)

Mikhail Laxton

From Australia via Ottawa, soul-folk singer-songwriter Mikhail Laxton is a don’t miss showcase artist at this year’s conference. We already mentioned his set as part of the Indigenous Music Summit showcase, but he’s posted his full FAI schedule for addition to your day planner, as well.

Nat Myers

Have you heard modern bluesman Nat Myers’ music? This PBS News Hour episode is the perfect introduction to this Easy Eye Sound recording artist. (That’s Dan Auerbach’s label, by the way.) Myers’ brand of timeless, gristly, warm, and charming blues will be on perfect display in the halls of Folk Alliance, for sure.

Rainbow Girls

Fresh off their brand new album release late last year, folk-rock trio Rainbow Girls will be ready to welcome you to whatever in Kansas City. They’re a chosen family band that’s as charming as they are biting, sharp musicians and songwriters. Check out Rachel Baiman’s interview with the group ahead of their FAI appearances.

Viv & Riley

Viv & Riley are true old-time musicians, but their songs are always forward-looking, too. They’ve been a notable old-time, bluegrassy, string band duo for more than a few years, but we recently featured them on our column One to Watch because, well – you oughta be keeping an eye on ’em! Do so at Folk Alliance, you’ll thank us. Want more? We had them on Basic Folk recently, too!

Willie Watson

Our old pal Willie Watson will be at FAI this year!? Sign us up!! How is this iconic session nearly 10 years old, already? Good memories with Watson, for sure, and we’re just about ready to make some new ones in Kansas City.

Hear the Title Track of Kacey Musgraves’ Next Album, ‘Deeper Well’

Posted on by Justin Hiltner

During the primetime Grammy Awards broadcast on February 4, country experimenter/challenger and singer-songwriter Kacey Musgraves announced her next full-length album with a 30-second ad that dripped with pastoral, “cottage core” imagery. Among more than a handful of recent, high profile album announcements – Lana Del Rey announced her upcoming country album just prior to the Grammys; Taylor Swift announced her next album during the ceremony; Beyoncé teased and confirmed her own country foray during the Super Bowl – Musgraves’ messaging felt very pointed, direct, and a bit disaffected. Given her track record and the lyrical content of the album’s title track, “Deeper Well,” it’s not surprising that Musgraves continues to follow her own arrow, wherever it points.

“I’m saying goodbye / To the people that I feel / Are real good at wasting my time…” she sings, and yes, it’s another free and unconcerned middle finger to Music Row, Nashville, and their puritanical country gatekeeping, but it’s so much more than that, too.

In the music video for “Deeper Well” (watch above), which seems pulled directly from a recent Star Wars film or a modernist, fantastic adaptation of Brontë or Austen, Musgraves inhabits a cozy and fearsome solitude. It’s reflected in the lyrics, as well, as the notorious stoner speaks of giving up on “wake and bakes” and giving up all of the flotsam and jetsam that’s gathered in her life since her enormously popular and successful album, Golden Hour, her prominent divorce, and the “controversy” that swirled around genre designations for her critically-acclaimed though nearly universally snubbed follow-up to Golden Hour, 2021’s star-crossed.

It seems that Musgraves is making music with even more intention, even more of herself, and even less concern with industry gatekeepers and mile markers. It also seems that, sonically and otherwise, Deeper Well will draw on the devil-may-care attitude of Same Trailer, Different Park and Pageant Material, while still guiding her audience and fans – by reaching them, directly – toward the same redemption and rebirth that she’s clearly found while making these songs. The production here listens like a combination of boygenius, Nickel Creek, and more of East Nashville and Madison than of Music Row and Broadway. But of course! This is Kacey Musgraves, after all.

There’s a slowing down apparent here, not only in the time that’s elapsed since star-crossed, not only in the imagery of the announcement and the first video, but also in Musgraves’ ambitions and how they fit into the overarching constellation of her work. Ambition has never been the focal point of her music, but it’s always been present; Musgraves is as deliberate and strategic as any woman (is required to be) in country music – like Swift, or Brittany Howard, or Ashley Monroe, or Maren Morris – but she’s leveraging her agency and her position as the CEO of her own outfit to continue to step away, bit by bit, block by block, mile by mile, from the parts of the music industry she’s never cared for.

As it turns out, her fans have never cared for the industry either, whether they know it or not. So, Deeper Well, is poised to – yet again – further broaden and expand the universe of Kacey Musgraves, even while her own, personal world seems to have deliberately shrunk… for the time being.

Photo Credit: Kelly Christine Sutton

Yes, That Is Rhiannon Giddens Playing Banjo on Beyoncé’s New Track

Posted on by Justin Hiltner

During a series of high profile Verizon ads during yesterday’s Super Bowl, Beyoncé announced that her upcoming Act II following 2022’s incredibly popular dance album, Renaissance, will find the globe-crossing singer/creative powerhouse returning to country. As music journalist Marissa Moss points out in a brand new post for the country newsletter she co-founded, Don’t Rock the Inbox, Beyoncé Knowles-Carter’s relationship to the genre is nothing new – as far back as 2007 the Texas born-and-raised artist rode a horse as she entered the iconic Houston Rodeo, an internationally known, marquis event in her hometown. Across the decades, Knowles-Carter has constantly utilized her music to remind her audience of her Americana roots, with songs, tracks, and production values that regularly reference country and roots music idioms. At the Grammy Awards on February 4, she wore a modernist couture cowgirl get up – a motif that has been peppered throughout the visuals for Renaissance and its world tour. As Lana Del Rey had just announced her next album, Lasso, would be country, the world wondered – why is Beyoncé wearing a cowboy hat?

But Beyoncé’s relationship to country goes deeper, still. In 2016, as Moss and many other journalists and industry insiders pointed out in reaction to last night’s announcement, Knowles-Carter appeared with The Chicks (at that time still referred to as The Dixie Chicks) in a fiery medley performance during the CMA Awards. The trio joined Beyoncé on her countryfied Lemonade track, “Daddy Lessons,” before morphing into a barn burning all-skate on the Chicks’ Darrell Scott-written hit, “Long Time Gone.”

These new songs, which were initially unveiled exclusively on the streaming service Tidal, are built on the “Texas Bama” terroir that all of Knowles-Carter’s music is intentionally rooted within. “Texas Hold ‘Em” begins with a full, warm, fretless old-time banjo, playing a looped, intricate melodic hook. If your ears perked up during Act II‘s teaser video upon hearing the five-string, you are correct – the banjo and viola on the track were performed by the one and only Rhiannon Giddens and were tracked with Demeanor, Giddens’ nephew, another roots music innovator and genre blender, acting as engineer.

It is beyond apropos for Beyoncé and her team to tap Giddens here, someone who has also built a career and prolific musical output on holding together seemingly disparate influences, textures, tones, and styles. It speaks to Knowles-Carter’s aptitude for not only trying on and exploring new or relatively unfamiliar idioms, but also inhabiting them wholly, intricately, and intuitively. It seems obvious to state, but Beyoncé is no roots music carpet-bagger or opportunist putting on “poverty tour” cosplay just to bolster her bottom line.

Though the production style and arrangements here are decidedly interconnected with Renaissance, the beats and underscoring beneath and around the clawhammer banjo and finger-picked acoustic guitar don’t feel entirely like Avicii’s “Hey Brother” or similar, more heavy-handed attempts to intermingle string band music with house, disco, and dance. Ultimately, these two tracks feel less like a “stomp & holler” money-grab/chart-grab and more like post-modernist line dancing music, carrying forward the placemaking and space-holding of her 2022 album. This is music about gathering, moving, and polishing the floorboards with a pair of cowboy boots.

As MacArthur “Genius” and New York Times columnist Tressie McMillan Cottom points out in a NYT blog entry on the new tracks, the most country-sounding aspects here don’t originally stem from “country” at all: “‘Texas Hold ’Em’ sounds like a Maren Morris-style bop, with many of country-pop’s current themes,” says Cottom. “There is a good reason for that. Those themes are very R&B and hip-hop coded: harmonies, danceable hooks, trap percussion and call-and-response.”

In the mind of this writer, though, “16 Carriages,” the proverbial B-side to the more glitzy and grabby “Texas Hold ‘Em,” is the most remarkable of the two singles currently available from Act II. It’s a Beyoncé train song, one that straddles the divide between urban and rural, city folk and country folk, hillbilly music and rhythm and blues. This is a deft balancing act, one that collectives like the Black Opry and artists like Mickey Guyton, Brittney Spencer, Black Pumas, Buffalo Nichols, Julie Williams, and yes, Giddens, have been demonstrating to the roots music industry and its fans for years and years, now. Such a balance can easily go awry, but as we know, Beyoncé so rarely goes awry – even in a would-be treacherous foray into this well-guarded and gatekept genre.

@black_was_genius Replying to @🌚 you asked, i responded. #beyhaw #blonde #takeover ♬ original sound – Tressie McMillan Cottom

These two songs, but “16 Carriages” especially, illustrate how important it is to view music such as this not as aberrations from a country music norm, but as distillations and representations of what has always been possible in country. Especially if we let arbitrary, moralistic, and bigoted “rules” and expectations fall away and we let artists – whether the most famous in the world or the busker on the street corner – be who they are, unencumbered and empowered by their identities, in all of their idiosyncrasies and complications. Beyoncé’s Act II will showcase that we really do all belong in country, whether your hat and boots are literal shit kickers or are overlaid in hundreds of disco ball mirrors.

Photo courtesy of Tidal.

BGS 5+5: Abby Hamilton

Posted on by Justin Hiltner

Artist: Abby Hamilton
Hometown: Nicholasville, Kentucky
Latest Album: #1 Zookeeper (of the San Diego Zoo)

Which artist has influenced you the most?

It’s always been Johnny Cash and June Carter Cash. My mom used to have us stop before a Myrtle Beach or Gatlinburg vacation growing up to have us pick out a book. At 12 years old I resented this greatly. But, as luck would have it, I landed on a June Carter Cash biography, Anchored in Love. Realizing I had known this music my whole life, I saw so much of myself in her story and it led me down one of the richest love affairs of discographies I’ve ever experienced. The music and life stories of Johnny Cash and June Carter have always been a north star for my writing, performing, and presence as a person and a writer. I adore them. It also opened the doors to the world of country and folk music.

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

Speaking of Johnny Cash, I remember being in college and discovering that Kris Kristofferson had written “Sunday Morning Coming Down,” not Johnny. I had no idea people could be songwriters and not the artist. It was like this huge “aha!” moment in my life. I never really felt like I was good at anything growing up. Not very high achieving in school and not super passionate about anything. Until that moment. I thought to myself, “If I can write songs, I will be happy. No matter who sings them.” And that’s what happened!

When I started writing here in Kentucky, I quickly realized everyone who made music here wrote their songs. A beautiful legacy from these parts, but it made me shift my attention to performing them. Thinking maybe, “If I sing these songs, someone might want to sing them, too.” This lead to a beautiful and unexpected journey with performing and falling in love with singing and my band. Don’t know how I got here really, but that’s the most I know.

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

Man, I think I’d take a bowl of Vodka Pasta and Bruce Springsteen. Those two always hit. And make it spicy.

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

There’s so many things. I’m lucky to be surrounded by so many friends, family, and influences who know me and tell me the truth. The biggest thing has always been staying true to myself. Protect my tribe and be honest with those closest to me. CLICHES I know. But, it’s true.

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

Anytime I’m in Eastern Kentucky on a dewey spring morning, I’m writing like a fiend. TRULY. If I can catch a sunrise and see the spiders making webs in the grass in the morning, I’ve always finished a song. Something that feels like a retreat from the real world always inspires me. No matter the season.

Photo Credit: Alysse Gafkjen