Tag: Hiss Golden Messenger

The Expansive Universe of Hiss Golden Messenger

Posted on by Justin Hiltner

Next year, singer and songwriter MC Taylor will have been leading Hiss Golden Messenger for two decades. For most of that time, critics and listeners have relied on a few familiar narratives about Taylor: that he is a singular figure, for example; or that his move from California to Durham, North Carolina, marked a formal shift from punk to Americana; or even that he thinks slightly more than he feels. Talking to Taylor, from his home in Durham (well, there was a Zoom call involved), I found these cliches about his practices were limiting, factually accurate but emotionally untrue.

Instead of laser-focusing on one narrative, on telling the same stories over and over again, listening to Taylor speak, I encountered a new understanding of his practice, one which placed Taylor in the background and moved his bandmates and genre-play into the foreground – shifting from the centrality of a singular figure to a greater emphasis on generosity and expansiveness.

That the new album is called I’m People is the first clue that Taylor wants to expand the perception of his music; it’s a title that considers mutuality as central to the enterprise of musicmaking. So, how does one expand this thinking – one could consider him geographically or complicate these tales of origin, or think about who is playing on this record, or even refuse the standard narratives of genre.

Instead of focusing on the fact that Taylor began playing in hardcore bands in California, think about the other influences: that he played in a band named after Joni Mitchell’s Court and Spark, an album marked by an urbane distrust of other people’s desires. Or that, around the time he was carefully listening to Mitchell, he was also following that most American portable utopia, the Grateful Dead. Or think about his move to Durham, not strictly to play in a band, but to study folk music academically.

Or, consider how this album was recorded – at least partially – in upstate New York. A more cynical writer would note that Taylor borrows from Dylan’s Nashville Skyline, and that album itself was the foundation of a more isolated, lonely understanding of tradition after abandoning folk music, seeking a slightly more commercial understanding. Recording this in the Hudson Valley could be considered a pilgrimage or homecoming.

I don’t think that it is a homecoming just for Taylor; the record sounds lush, expansive formally, too. Perhaps because the people who sing or play on this record play in a collective of other bands, including Rhett Miller, the Mountain Goats, Bonny Light Horseman, and the Hold Steady.

The expansive nature of the band is not only connected to the history of music they listen to, or the other bands that they play in, but also more unexpected influences like Sade. The idea that Taylor is the band is false, and it is not even that Hiss is the band. Taylor expands the possibility of Hiss, but Hiss itself pushes the possibilities – because of where they come from, their other projects, and even the possibility of geography. Not because Durham is magically a place where music coalesces, but because for a long time it was a college town where rent was relatively cheap and lots of people liked playing music together.

When addressing genres, the promotional material calls the album Americana – but Americana is a useless category, one which might be country or folk or something else entirely. I’m People has a kind of intense richness that is neither of these genres. Listening to the LP, something happens where the expansion or fracturing of those playing on this record becomes its own kind of post-genre.

There are a lot of reasons not to love America right now, but emphasizing the American instead of Americana allows us to consider this album as a consequence of the totality of American music – Taylor addresses the improv nature of jazz as part of this, or traditional folk music, or even 1970s easy-listening. He speaks fondly of the detective novels of Elmore Leonard, and on at least one of his early albums the photography of William Gedney became a powerful totem.

I think of I’m People as a kind of ebbing and flowing for and against tradition, part of that decades-long wrestling with aesthetics and history. Consider the last song, “Depends on the River,” is another of his great songs about waterways. In a 2016 profile of Hiss, New Yorker critic Amanda Petrusich wrote about Hiss’s long tradition of river songs and how it fits into a century of metaphors from blues singer Geeshie Wiley to Joni Mitchell, working this tradition. Petrusich writes: “Taylor frequently evokes river imagery in his work; the river, of course, can be understood as its own kind of road, a direct line to somewhere else, far away.”

I don’t know if that’s wrong, but I also think about rivers as they turn into oxbow lakes, rivers which flow into swamps – literally bogged down – rivers that flow into oceans, and rivers that dry up depending on the season. Hiss’s meandering, deepening quality depends on that river, both the direct line that Petrusich talks about and the larger metaphor, one where Taylor literally talks about whether he dares to cross it. On I’m People, he not only crosses it and crosses it again, but brings along a whole community of other performers. And, an audience who is hungry for the difficulty and ambivalence of so much time playing – and thinking – with him, to the other side.

I know you have a degree in folklore studies, I also noticed that in the last few years there has been a cluster of second- or third-generation performers who have some academic training in folk traditions (see also: Jake Blount, Jake Xerxes Fussell, Willi Carlisle, etc.). Can you talk a little bit about the kind of intersection of formal and informal folk studies and also about your relationship to people who are making this kind of work? I’m thinking about the line on the song “Mercy Avenue” where you talk about the “boys on the corner knowing more than those with PhDs.”

MC Taylor: Well, it’s been a really long time since I was in the academics here. And that universe was one that I feel like I passed through briefly. I wasn’t destined to be in that realm forever. So, I’m not sure that I can totally speak to [that]. Like the place of academic/creative work.

I will say that my time in that space was a really good time for me, when I was restarting my brain and re-centering myself. School was a good way for me to step away from whatever I had been doing previously. I did a lot of field work at that time. I interviewed a lot of people, and I think that it made me a much better listener.

I think that, more than anything else, [that] is what I came away with, this feeling that people really, really like to be heard. So I think I just really tried to develop my listening skills.

Can you talk a little bit about working with a band – especially this band – and about how the bandmates are part of their own creative worlds? Is there a kind of politics there, or a kind of community making?

The basic tracking of the album was done with JT Bates playing drums and percussion, Cameron Ralston playing bass – both electric and upright – and Josh Kaufman, who was producing the record with me, playing guitars, mandolin, piano. My friend Chris Boerner was engineering the record. He plays guitar.

The road version of Hiss Golden Messenger, you know, [are] involved in a whole variety of things. JT, Cameron, and Josh play in Bonny Light Horseman. All three of them have also at various times been members of Hiss and have toured with Hiss. And in fact, that’s where those guys met – playing in Hiss. All of us have known each other for many, many years, so I consider those guys really good friends.

But we’ve never made a Hiss Golden Messenger record before. … They’ve worked on [other] records [together], but we never came together to create a Hiss Golden Messenger record together. It was this funny and unique situation in which we were already old friends, doing something that felt new and fresh. It didn’t feel like a complicated record to make for me. I think Josh Kaufman maybe would say the same thing, but Josh was performing sort of a different task than I was in the situation. It was a complicated record to write, but that was something of the solitary endeavor that took place over probably a year or a year and a half.

I really love those guys and I am delighted that they could be there to play on the record. I think of them as absolute top-tier musicians, every one of them. Cameron is currently playing with the Mountain Goats, he plays all kinds of jazz, he plays in the Spacebomb House Band. JT Bates plays drums with Big Red Machine, which is Aaron Dessner and Justin Vernon. And [he’s] just a legendary drummer in Minneapolis. Josh Galvin plays with everybody.

There are some songs on this album about hope and I wondered about making work about hope in this specific social and political moment? “Shaky Eyes” or “Heavy Worlds,” for example.

[I am interested] in how we [have] the energy to get through the messiness of life. And not only this particular time that we’re living through – although that is the most depressing. But just like life in general. I don’t think that we can do – or I don’t think I can do – life alone. So, in a way this record is me writing to myself. Maybe now [about] how important other people are.

I think I realized that the most important part is moving through, and needs to involve being around [other people]. Over the past few years, just speaking personally, the idea of community has felt like a more and more important part of it.

Thinking about that – and how dense/lush the production here is – though you are marketed as “Americana,” I wonder about how you view genre. And also how your band does – I’m thinking about background vocalist Annie Nero’s bio for radio: “She loves to find the common thread between musical ideas and genres…but also break free of genres because life’s too short to limit ourselves based on perceived taste!”

I listen to lots of different stuff. I think all of that stuff finds its way into what I’m doing. It’s a little tricky. I used to have a stronger stay-in-your-lane [attitude] about the term “Americana,” but I just don’t think that I care very much anymore. It’s not a word that I generally use. But I understand why it exists. Many of my favorite songwriters exist in that world.

What would you call your genre then?

I mean, I wouldn’t. I guess that’s what I’m saying.

Like, if I was at the dog park and I was talking to a stranger, and they said, “Oh, you’re a musician? What kind of music do you play?” I’d probably say, “Kind of rock and roll.” I generally am not describing my music in terms of genre, I guess. If I told someone that I played rock and roll, and they asked me to extrapolate on that, I would say something like, “Rock and roll that’s really swinging.” I try and concentrate on the rhythmic elements. I love singer-songwriter type music from the ’60s and ’70s. I like really oddball stuff. I love Bruce Ruffin reggae; I love free jazz. There’s a lot of music that I have inside of me. There’s a lot of music that Josh, Cameron and Chris – [that] we all have inside of us. I think it’s just a question of how we get it out and put it into use in a way that feels genuine and not forced. …

Thinking about the tension on this album between distinct geographical spaces and a more universal emotions – for example on “Seneca (Time is a Mother, Baby)” or “Mercy Avenue.” And also that becomes a larger theme of your work, thinking about how Amanda Petrusich writes about your decades-long commitment to writing about rivers. There’s even the river song on this album. What do you think your relationship is to the land, to rivers – especially. when you sing “Depends on the River.” Or is there specifically one river?

On previous Hiss records there are specific geographical places like city names mentioned. And not only are those places part of the fabric of the story that I’m trying to tell, but they sort of served as poles, maybe? What I’m trying to accomplish is sort of like a poetic travelog of my life growing up in America. I’ve been traveling as a musician since I was 18. I have been, it seems like, everywhere in this country – more than once or some places 10 times. I’ve been all over every highway. So, maybe the dimension of place names throughout is sort of like carving my name on a tree or something. It’s just kind of like, “I was here.” “This is where we are in this song right now.” “This is where we are in my life.” And then, “Now we’re over here.”

In terms of rivers, a river is always flowing, always changing. A river can kill you if you’re not careful. It can keep you alive and get you to the next place if you treat it with respect and understand its rules. The coda on that song, [“Depends on the River”], the last thing that we hear on the record is “the line depends on the river exactly.” I guess the meaning depends on what river of life we’re talking about. It depends how lucky we get.

I’ve always been impressed by the wide range of your reading, listening, and looking. For example, your careful thoughts on the photos of Gedney. What are you reading, what are you listening to, what are you looking at these days?

Well, you know what I’m reading right now? I’m like about 200 pages into this Gary Stewart biography. Gary Stewart, the country singer. It’s called I Am From the Honky-Tonks. Gary Stewart actually was someone that Chris Smith from [record label] Paradise of Bachelors turned me onto like 15 to 16 years ago. Those of us that are obsessive about him all knew that this book was coming. It’s finally out and yeah, if you’re Gary Stewart fan, it’s kind of like you can’t believe it exists. I’ve been waiting for it.

In terms of what I’m listening to, I’m always listening to all kinds of stuff. I just bought this record [that’s] The Sun Ra Arkestra doing Disney themes. It’s so beautiful, really makes you think about those compositions in a different way, [about] actually how deep they are. I’ve been revisiting some Ted Lucas. I’ve really been liking this McCoy Tyner record called Asante. It’s a 1974 record; might be my current favorite. It’s very deep in the zone with like Alice Coltrane and Pharoah Sanders – that era. Oh, it’s beautiful. [I’ve been listening to] some Paul Brady from ‘78. He’s amazing! I’ve been listening to Welcome Here Kind Stranger. [Also] a record that I was checking out for a while [was] by the Universal Liberation Orchestra. It’s kind of this weird, very minimal– I guess it would be jazz.

Photo Credit: Graham Tolbert

Hurricane Helene: How to Help Roots Musicians and Appalachia

Posted on by Justin Hiltner

Hurricane Helene tore through Florida, Georgia, the Carolinas, Tennessee, Virginia, and beyond in late September, 2024, leaving a wide wake of devastation and destruction from her high winds, record rainfall, and historic flooding. Central and Southern Appalachia and the Blue Ridge Mountains of Western North Carolina, Southwest Virginia, and East Tennessee were hit especially hard, experiencing what some experts have called a 1,000-year weather event. Due to the particular nature of the geography and topography in the mountains, communities of all sizes – from Boone and Asheville, NC to tiny Chimney Rock and Lansing, NC to Erwin, TN and Damascus, VA – were hit especially hard by flash floods, downed trees, landslides and mudslides, impassable roads, and utility outages.

Slowly but surely over the last ten days, as cell service, power, and communication are restored in a slow trickle to the hard-hit and hard-to-access area, more stories, photos and videos, and first-hand accounts have been disseminated from survivors of Helene’s fury. Their accounts are truly harrowing. The damage nearly unparalleled in recent memory.

Central and Southern Appalachia are a region rich in musical and cultural heritage, with so many of America’s quintessential roots music forms being hugely influenced by these mountains and their neighboring locales. Asheville and Boone are two gems in the American roots music scene and so many smaller towns in the tri-state area have their own bustling arts economies, as well. Musicians, songwriters, and creators from all corners of the BGS family reside in this part of the country; watching from afar as they recover their destroyed lives and livelihoods, build community, support each other, clean up the mud and debris, and act in pure solidarity has been both encouraging and heart-wrenching.

For those of us who adore the Blue Ridge, Appalachia, North Carolina, Tennessee, and Virginia but live elsewhere, it’s been a nearly constant questioning of, “What can we do to help?” since the storm hit. Especially, what can we do to aid our fellow roots musicians in Helene’s track as they rebuild their lives? Gratefully, resources, tips, donation links, volunteer oppportunities, and more have been pouring in as the mountains and neighboring areas come back online.

Below, we gather a few events, donation links, GoFundMes, resources, and more – for folks in and outside of the region – to lend their support to our friends and neighbors whose lives have been forever altered. While we hasten to rebuild and recover, we also hold immense love, care, and grief for all of those who are still missing, unaccounted for, and presumed deceased in the aftermath of Hurricane Helene.

The road to a “new normal” across the southeast, from Florida’s Big Bend to Virginia’s Crooked Trail, will span months and years, if not decades. The only way we’ll get there is by supporting and caring for each other – and that support starts now.

Sturgill Simpson’s North Carolina Benefit Show

Mainstream country outlaw Sturgill Simpson has just announced his Why Not? tour – featuring his new project and persona, Johnny Blue Skies – will hold a special North Carolina Benefit Show on October 21 in Cary, North Carolina at the Booth Amphitheatre with all proceeds benefitting the North Carolina Disaster Relief Fund. Tickets go on sale this Friday, October 11 at this link. As explained in a press release announcing the event, Simpson was originally scheduled to perform at Asheville’s ExploreAsheville.com Arena on the same date, but due to the devastating impact of the storm, that show has been canceled. This quick-pivot rescheduled benefit show is just another indicator of how important North Carolina is to country and roots musicians.

Help Musicians Hasee Ciaccio and Abby Huggins Rebuild

Hasee Ciaccio is a bluegrass bassist who has toured and performed with Molly Tuttle, Sister Sadie, Laurie Lewis, Alice Gerrard, AJ Lee & Blue Summit, and many, many more bands and acts in bluegrass, old-time, and string band music. She and her spouse Abby Huggins, a community builder, dancer, and artist, lost their home to Hurricane Helene-caused tree falls and mudslides.

The California Bluegrass Association has begun a fundraiser to help Hasee and Abby rebuild, as they must continue paying a mortgage on a home that became unlivable in an instant. The outpouring of generosity has been overwhelming, with 60% of their goal already being reached in the short time since the hurricane struck on September 27. Visit the CBA here in order to read more and donate to support Hasee & Abby.

Mandolinist Darren Nicholson and Band Pitch In

Darren Nicholson is a mandolinist, songwriter, and Western North Carolina native who knows first hand how floods of this nature can uproot entire lives and communities. In 2021, his home turf, Haywood County, was devastated by flooding from a tropical depression. He led recovery efforts then, and he’s pitching in again now – with his entire band pulling their weight to bring GoFundMe donations, supplies, and resources to their own communities in Western NC and East TN.

“The entire band is out serving their communities at this time,” Nicholson shares in the GoFundMe description. “Avery is a first responder doing search and rescue;  Aynsley is distributing supplies in Unicoi, TN; Kevin is distributing water and fuel; Darren is cutting trees and distributing supplies in Haywood County, NC.”

If you’re able, you can give directly via GoFundMe to support Darren Nicholson and his band bringing glimmers of hope to their impacted communities. They’ve already exceeded their fundraising “goal” – and the dollars raised back in 2021 – but there is still much work to be done, so consider donating if you can.

BGS Contributor and Music Journalist Garrett Woodward Reports From on the Ground

Frequent BGS contributor and freelance music journalist extraordinaire Garrett Woodward has been reporting – for RollingStone and others – from on the ground in the region about the impact on Asheville, North Carolina’s musicians and beyond. Despite dealing with power and internet outages himself, Woodward has been shining a light on the experiences of those dealing with the immense fall out of this storm.

Here, he describes the impact on venues and music presenters in what has become a hotbed for indie and DIY music of all genres and styles, but especially roots.

Here, he details how musicians and artists have been pitching in – whether from nearby or far away – to help this incredible area of the world recover and rebuild.

You can also find his reporting for Smoky Mountain News on Hurricane Helene efforts and impacts here.

We so appreciate Garrett keeping all of us in the loop with what’s happening on the ground, while spreading the word about relief efforts, resources, and donation pages. All of his stories above include many ways to give and to show up for North Carolina, so dig in and get involved.

Donate to the IBMA Trust Fund

Hurricane Helene hit during IBMA’s World of Bluegrass business conference and IBMA Bluegrass Live! festival held in Raleigh, North Carolina. While the disruption to the event was not insignificant, the organization immediately began messaging more broadly about the impacts to the region and the destruction just down I-40, in the western parts of the state, in Tennessee, and Virginia.

Before the festival had even concluded, IBMA began fundraising through their Trust Fund, which supports bluegrass musicians and professionals facing hardships – whether financial, medical, disasters, etc. Members of the IBMA and its staff and board even already held a benefit livestream show. You can watch that performance here, and donate to the Trust Fund at any time as it supports bluegrass community members in need.

Help Ola Belle Reed’s Hometown Rebuild

Ola Belle Reed’s hometown of Lansing, North Carolina is nestled in the mountains of Ashe County alongside Big Horse Creek. As you drive into the tiny village from the south, you’ll encounter a brightly colored mural of Reed on a local store’s brick wall, a bright barn quilt accenting a gorgeous portrait of this iconic old-time and bluegrass legend. Unfortunately, Helene took its toll on Lansing’s adorable little downtown too, flooding nearly every business and destroying homes, bridges, and livelihoods.

The Old Orchard Creek General Store, a newer business that had become an important community keystone and gathering place in its few short years of business, was almost entirely destroyed. The store is known for hosting nearby and regional musicians – like Cathy Fink & Marcy Marxer, Martha Spencer, Trevor McKenzie & Jackson Cunningham, and many more – on their porch and in their cute cafe, supporting dozens of area artists with a quality local gig. You can donate to support the general store’s rebuild here.

In addition, Lansing and the Ashe County area surrounding it are criss-crossed with mountain creeks and streams, many of which burst their banks and washed out bridges, driveways, and crossings that were critical for folks’ daily lives and safety. As a result, the citizens are banding together to rebuild this critical infrastructure for their neighbors. Give to help rebuild their roads, bridges, and driveways here.

Woody Platt’s Album Release Becomes Rescue Carolina

Many folks are synonymous with the Western North Carolina music scene, but perhaps no single person epitomizes what it means to be a musical community member in Western NC like Woody Platt does. With a new album, Far Away with You, dropping this Friday, October 11, Platt has re-tooled his album release show to be a benefit for Rescue Carolina, raising money for local relief efforts in Brevard, NC and nearby. A bastion venue in the area, 185 King Street, will host the show – and they’ve been pitching in quite a bit with recovery themselves, too. Everyone is pitching in!

Not in the region? You can purchase a livestream ticket and still show up for Woody Platt and for Rescue North Carolina. Give directly to their GoFundMe here.

Star-Studded Concert for Carolina

Announced yesterday, October 7, with tickets going on sale Thursday, October 10, Charlotte, NC’s Bank of America Stadium will be taken over on October 26 by Luke Combs, Eric Church, Billy Strings, James Taylor, Keith Urban, Sheryl Crow, and more for a star-studded benefit show. Proceeds will support relief efforts in the Carolinas. The event will be hosted by ESPN’s Marty Smith and Barstool Sports’ Caleb Pressley and will feature additional artists still to be announced. It’s sure to be a sell out – and for good reason!

Get more information and purchase tickets here.

Hiss Golden Messenger Dedicates Sanctuary Songs: Live in Omaha, NE to Western North Carolina

North Carolina-based indie, folk, and Americana artist Hiss Golden Messenger (AKA M.C. Taylor) has announced his upcoming live album, Sanctuary Songs: Live in Omaha, NE, will benefit BeLoved Asheville, a local organization raising funds for relief efforts. The 18-song project is available for purchase now exclusively via Bandcamp.

“Western North Carolina is really, really hurting, y’all,” Taylor noted on Instagram. “We don’t even know the half yet, and I’m glad to be able to help.”

Safe Water for Hurricane Helene Survivors Via LifeStraw

LifeStraw is a brand all about safe, clean water for all. Their products are popular with hikers, campers, outdoors people, and folks with limited access to clean water around the world. After Helene, the company activated their Safe Water Fund and their disaster response teams to bring their filtration products to those who’ve lost access to clean water. Donating directly to the fund helps bring their large purifier systems like the LifeStraw Community and LifeStraw 8L to the region as well as their LifeStraw Home pitchers and dispensers for use in homes and personal bottle and straw filters for individual use. Get more info and donate here.

Appalachian Aid Music Festival

On October 19 in Wilkesboro, North Carolina, the Appalachian Aid Music Festival will feature performances by host Alex Key, John PayCheck (son of Johnny PayCheck), local great Wayne Henderson, and many more. The event will benefit Musicians Mission of Mercy, a non-profit embedded in rural Western North Carolina, specifically in Ashe County. Tickets are available now via Eventbrite, but first responders – nurses, doctors, firefighters, linemen, EMS, etc. – should know they’ll be admitted for free with their work IDs.

Cardinals At The Window Compilation Album

Released on October 9, Cardinals At the Window is a gargantuan compilation album of 136 tracks – yes, you read that right, 136 – submitted from various artists from across the roots music landscape. The project will benefit three non-profits based in Western North Carolina administering hurricane relief, Community Foundation of Western North Carolina, Rural Organizing and Resilience, and BeLoved Asheville. Compiled by Libby Rodenbough, David Walker, and Grayson Haver Currin, the album is available exclusively via Bandcamp and features tracks from amazing artists like Gillian Welch & David Rawlings, Hiss Golden Messenger, Watchhouse, Calexico, the Decemberists, Iron & Wine, MJ Lenderman, Mipso, Jason Isbell, Tyler Childer, Waxahatchee, Yasmin Williams, and many, many more.

Purchase the project and support the cause here.

Appalachian Allies

On October 27 at the Bijou Theatre in Knoxville, Tennessee an impeccable lineup of roots musicians will gather to raise funds for the East Tennessee Foundation, a non-profit committed to supporting flood victims and flood relief programs in the mountains of East Tennessee. Hosted by bassist Daniel Kimbro and singer-songwriter Sam Lewis, the event will feature performances by Adeem the Artist, Darrell Scott, Jerry Douglas, Larkin Poe, Sarah Jarosz, and more. Tickets are on sale now. Make plans to support Tennesseans by showing up and showing out for Appalachian Allies on October 27.

“Hell in High Water” – Mike Thomas

Singer-songwriter Mike Thomas grew up in East Tennessee. After Helene tore through his home state, the Carolinas, and Virginia, he began writing “Hell in High Water” in early October.

“For generations, my family has called East Tennessee home, and although I have lived in Nashville for 20 years, I will always be an East Tennessean. Watching the aftermath of Helene unfold affected me deeply…” Thomas said via press release. “I couldn’t get those heartbreaking stories and images out of my mind.”

So, he wrote “Hell in High Water,” recorded it in record time, and released the track with all proceeds going to Mountain Ways, a non-profit committed to providing ongoing hurricane relief and assistance in the region. “I started writing ‘Hell in High Water’ on October 4th and finished it on October 6th,” Thomas continues. “I played it for some close friends and family who urged me to record and release it as soon as possible. I sent it to my producer, Tres Sasser, and my bandmates. Everyone dropped what they had planned to record the track on October 17th. There was a sense of urgency and purpose to get the song done and to get it done right.”

The song is now available to stream via Spotify, Apple, and more. Listen to the track below. All proceeds will go to hurricane relief. Listeners and fans can also donate to Mountain Ways directly here.

Our Co-Founder, Ed Helms, Agrees

 

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A post shared by Ed Helms (@edhelms)

Even our co-founder himself, Ed Helms, took to social media to point out how special and important this region of the country is to all of us – BGS and beyond. Like many of us, Ed has had a lifelong relationship with the mountains of Western North Carolina and he understands personally how difficult this recovery process will be. You can find all of the links he mentions in this clip and more below.

Whatever you have to give and contribute to rebuilding after this storm, nothing is too small or insignificant. It will take all of us to rebuild Central and Southern Appalachia and the entire Southeast post-Helene.

Give to the Appalachian Funder’s Network here.

Give to World Central Kitchen here.

Support Operation Airdrop, Concord, NC

Give to BeLoved Asheville

Arts Organizations: Get plugged in with Hurricane Helene resources via the National Coalition for Arts Preparedness and Emergency Response.

For more donations to local, vetted organizations, Blue Ridge Public Radio has compiled this list.

(Editor’s Note: Have a fundraiser, link, benefit concert, or similar hurricane recovery resource you’d like us to share here? Email us at [email protected].)

Photo Credit: Courtesy of NASA Image and Video Library. Sept. 25, 2024 – Hurricane Helene is pictured from the International Space Station as it orbited 257 [miles] above the Gulf of Mexico off the coast of Mississippi.

Cayamo 2024: A Behind the Scenes BGS Photo Diary

Posted on by Justin Hiltner

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

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

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

Booking information and more details available at Cayamo.com

All photos by Amy Reitnouer Jacobs shot on Camp Snap.

Viv & Riley’s Tradition and Innovation on Basic Folk

Posted on by Shelby Williamson

Vivian Leva and Riley Calcagno, known as Viv & Riley, dive deep into the nuances of old-time music, their folk influences, and the process behind their album, Imaginary People. The duo, who ​met ​at ​a ​music ​camp ​in ​Port ​Townsend, ​Washington, trace their roots from Riley’s disciplined musical practice to Viv’s intuitive approach. The two found inspiration from growing up in the Seattle area listening to KEXP to living in Portland, Oregon, to their current home in Durham, North Carolina. Drawing on their experiences at fiddlers conventions and music camps, Viv & Riley reflect on the transformative power of collaboration and the vibrant community that has shaped their unique sound in their duo as well as their other band, The Onlies.

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As they share insights into their songwriting process, the episode unravels the intricate layers of Imaginary People, delving into the harmonious blend of indie roots and experimental production that defines their latest release. With a nod to their eclectic influences, including the supportive atmosphere of Durham, North Carolina, the duo discusses the evolution of their sound under the guidance of producer Alex Bingham from Hiss Golden Messenger, who produced their latest album.

Photo Credit: Libby Rodenbough

Artist of the Month: Folk Hero Alice Gerrard Is Unafraid to Be a Real Person

Posted on by Justin Hiltner

(Editor’s Note: Fiddler, songwriter, and creator Libby Rodenbough writes this personal essay on her friendship with and admiration for BGS Artist of the Month, Alice Gerrard, accompanied by her original photos taken for Gerrard’s new album, Sun to Sun.)

I remember first hearing Ola Belle Reed’s “Undone in Sorrow” when I was 19 or 20. I felt like a portal had been opened unto a world that had existed around me my whole life, unseen and unheard. I grew up in North Carolina going to visit my mom’s family in Madison County, along the Blue Ridge, where any of the graveyards on the mountain sides with their little mounds of clay outside my backseat window might have been the one from Ola Belle’s song.

That portal didn’t open for me in the mountains of North Carolina, though – it was in Chicago, at the Old Town School of Folk Music, an institution that had come out of the ‘50s folk revival. I was big on Pete Seeger and John Prine at that time in my life, and had found out my dad had a cousin with a spare room in Chicago, so I went on a little pilgrimage during a recess from college.

It was there that I learned my first old time fiddle tunes, belting the refrain “down in North Carolina” from “Waterbound” at the school’s open jam while the Chicago winter dumped three feet of snow outside. It was there I first learned the rudiments – very rude in my case – of clawhammer banjo. It was also there that I first heard a left hook of a song called “A Few Old Memories” by Hazel Dickens, which appeared on her 1973 duo record with Alice Gerrard, Hazel & Alice.

I went home from Chicago with new eyes and ears. Places I’d known forever became newly populated with epic figures, recast in the light of 200-year-old narratives. My first semester back in school, I was in an introductory folklore course taught by Mike Taylor (of Hiss Golden Messenger) and he started talking about his friend Alice Gerrard, who lived a town over in Durham. I was fairly well tangled up in time and place at that point – even the deceased people I’d been learning about were brand new to me – so I had to blink a few times to digest that she was the same person singing harmony on “A Few Old Memories.”

Today, 10-ish years later, I sit with Alice in preparation for writing this piece and she tells me about driving Ola Belle Reed in her Dodge van on tours through the South in the late ‘60s. She’s my oldest friend (nearly 90), and all competition lags behind her years pretty pathetically. She also makes a lot of the people I talk to seem boring. We’re in the same business: We sing songs and play shows and make records. She’s been doing it a lot longer, and I think she knows about five times as many songs.

Hanging out with Alice helps me understand why she wanted to be friends with people like Elizabeth Cotten and Luther Davis, who were elderly when she met them. She heard the way they played and sang and had to talk to them about their lives. “They knew exactly who they were,” she says. For a young person who had moved across the country from Oregon to Washington, D.C., without maintaining much contact with home, dropped out of college, and had four children, that self-knowledge was aspirational. Though their rootedness in their communities was part of what drew her to them, she didn’t think of them as avatars of bygone primitive ways of life, or as characters in a play – they were people. Elizabeth Cotten was somewhat guarded, but over years traveling and playing together, she told Alice about indignities she had suffered as a domestic worker and as a Black female folk performer, and about subtle acts of defiance she had worked into both vocations. Luther Davis talked about how lonely it was to get old and run out of witnesses to your own life.

Alice is likewise unafraid of being a person. She’ll tell you straightforwardly that she was unprepared to be a mother, that it was essentially impossible to pursue a music career – which was something she knew she wanted for herself – and still give adequate time to her kids. We commiserate about music industry bullshit and engage in light shit-talking about the idea of showmanship.

She’s usually wearing one of her collection of t-shirts that pertain to her dog Polly’s agility training facility (“Fast and Furryous”). This past March, when I took these photos of her to use for promotion of her new album, Sun to Sun, we went through her closet together and dug out some gems, including a bedazzled commemorative t-shirt from Obama’s inauguration.

I have no training in photography – I shoot film because I enjoy the feeling of not really knowing how it works. We went to Duke Gardens in Durham, where we both live, on a week when the cherry trees had popcorned into glory. Alice looks radiant in the halo of those glowing blooms. But I also love the photos where she’s at home, standing in front of the brick retaining wall around her front yard, before she realized she still had her Apple Watch on. The sky was so blue that day, her white hair incandescent. She looks like she knows something you don’t, but in a warm way, like she knows you’ll get it eventually.

Alice is unafraid to treat a song like it can handle a little handling. She knows that songs are alive and she’s interested in being a part of their lives, not their memorialization. She smiles talking about how, in an old John Cohen film, the Madison County ballad singer Dillard Chandler starts a song in a key around here (she holds her hand at her waistline) and ends it here (she raises her hand up level with her temple). She’s delighted by the particularity of the human touch. She prefers singing voices with a bit of weirdness over purely pretty ones. Talking about Carter Stanley’s high whine, she says, “Whatever was eating on him from the inside, it was showing up in the way he sang. Nina Simone, the same way.” She tells me what a struggle it is to teach that kind of feeling to people accustomed to singing prettily. “If you’re trying to get somebody out of the soft, breathy voice, you say, ‘Look, your kid is running out into the street and you have to call your kid back.’ You don’t say,” — she coos — “‘Heyyyyy Brian, get back here.’ You say, ‘BRIAN! GET BACK HERE!’”

Whenever I’ve played music with her, Alice seems to lean into what people at the Old Town School liked – actually, loved – to call “the folk process;” she lets arrangements evolve as the spirit of the universe sees fit. I’m lucky she’s not a stickler for tradition, even traditions she could write encyclopedias about, because my fiddling style is distinctly unmoored. I was a half-rate Suzuki classical violin student growing up and then at the Old Town School I learned how to accompany folk singers on songs with three or fewer chords. I came home and started going to the old-time jam at Nightlight Bar & Club in Chapel Hill, where the jam leaders were American Studies PhD candidates who also grew up learning fiddle tunes from their hometown octogenarians. Some of my friends started a band called Mipso that was flirtatious with bluegrass and asked me to join, but I told them up front I didn’t know any licks. (They didn’t seem bothered by that.) I’ve since learned a few licks, and I would rather play an old time tune any day of the week than do almost anything else, but I never could sit still long enough to do what Alice calls “holding the line” — keeping and caring for the tradition.

I’m indebted to, and grateful in my heart for, people who do that work. I may roll my eyes at gatekeeping, but it’s more than wide-eyed would-be fiddle players at the gate; it’s the whole monster of monolithic, capitalist cultural imperialism, chomping down on everything small or strange. Songs can, and do, disappear, like cultures and forests, and not just by inertia but by clear-cutting. A lot of days I feel self-conscious about whatever it is I’m doing instead of holding that line. When I listen to Alice tell stories about the many singers and players she’s known over the years, though, I remind myself that they each have a distinct relationship with tradition – and with what it means to be an artist.

For a long time there’s been a divide, rhetorical and sometimes actual, between “the folk” and “the folkies,” which maybe means country people versus city people, or maybe people who grew up in a given musical tradition versus those who came to it later. Alice and I both fall into the latter category, though she’s had considerably sharper focus since her initiation. I’d rather replay a 10-second clip of a Mark O’Connor fiddle solo at one-quarter speed forty-seven times in a row than try to examine that dichotomy in any more detail at this moment, but I did spend a lot of my undergraduate days thinking about authenticity and who’s entitled to do what with old songs. Alice has often found herself among people who look at it from an academic angle – her ex-husband, Mike Seeger, came from a folklorist family – but her view remains that the compulsion to define and categorize is basically academia trying to justify itself. I don’t take that as bitter or glib, I just think she hasn’t found it necessary, in her personal relationship with the music she loves, to try to determine who gets to claim it. Or maybe, for Alice, the claim is in the singing. Talking about what makes a voice “authentic” (a word that sends a chill down my spine), she paraphrases Supreme Court Justice Potter Stewart from 1967 in his definition of pornography: “I know it when I see it.”

As we clink the ice around our $7 decaf specialty iced lattes, Alice tells me about a song she’d just heard, a haunting falsetto voice with nylon string guitar, in the opening scene of Pedro Almodóvar’s new short film, Strange Way of Life. After some Google sleuthing, she identified it as a recording by the Brazilian artist Caetano Veloso (in fact, the movie is named for it – “Estranha Forma de Vida.”) She’s head over heels for this song, itching to go home and dig into Veloso’s catalog. If they ever meet, I know she will have great questions for him, the type of questions that make a person believe songs must do real work in this world.

I ask her if she thinks of her music as having “a purpose.” “Not really,” she says. But she goes on, “I want people to hear what I hear in this music.”

In my view, that’s an altruistic goal, because it’s clear that whatever it is Alice hears in the music, it gives her life its very marrow. I admire the decades she has devoted to learning and documenting traditional music, but what I aspire to most is the way she still loves a song — viscerally, instinctively, with gusto. That’s what makes a line worth holding.

“There was something about the music, the quality of the voices,” she says, recalling first hearing Harry Smith’s Anthology of American Folk Music. “There’s so much beauty in it, it’s like, God, yeah.”

I had that “yeah” moment when I heard “Undone in Sorrow” and “A Few Old Memories” – and now, Sun to Sun. I hope to be saying “yeah” like that about songs for the rest of my life.

All photos: Libby Rodenbough

‘Jump For Joy’ May Be Hiss Golden Messenger’s Most Autobiographical Album Yet

Posted on by Justin Hiltner

It’s become commonplace in our culture for certain public figures to claim they speak for wide swaths of humanity – not just themselves and their families, but their community, nation and even beyond.

Then there’s Mike “M.C.” Taylor, guiding-light frontman of the North Carolina Americana band Hiss Golden Messenger. In speaking to the world through his songs, Taylor often approaches transcendence. But as for who he’s speaking for on this musical journey, well, that’s never in doubt. There’s a reason that pretty much every song Taylor writes is in first-person singular.

“It’s just what I find myself doing,” Taylor says when asked about writing in first-person. “I’ve never thought about it before, but it must be something I do without consciously thinking about it. This particular record really makes sense to me in thinking that way because it’s so autobiographical. Not all the scenarios are purely true, or belong to me. But it’s as autobiographically as I’ve ever written on a Hiss Golden Messenger album.”

The album in question is Jump For Joy (out now on Merge Records), the latest entry in what is fast becoming a sprawling Hiss Golden Messenger discography going back more than a decade. As listenable as it is plain-spoken, Jump For Joy is another earthy shot of country-soul love. It brings to mind some of The Band’s best work from their prime, conveying not just a journey of realization but how hard a trip like that can be.

Taylor’s longtime bandmate, Chris Boerner, describes him as “a deep, complicated human being.” And if he has a reputation as zen master, it don’t come easy. “The Wondering” finds Taylor asking his muse if he could “write just one verse that doesn’t feel like persuasion.” And the very first words Taylor utters on the album-opening, “20 Years and a Nickel,” are, “There’s no such thing as a simple song/I’m convinced of it, I should know.”

By way of explaining where that sentiment comes from, Taylor references an old legend about the late Spanish painter Pablo Picasso being interrupted by a fan at dinner one night and asked to dash off a quick drawing on a napkin. So Picasso quickly sketched a goat and named his price for it: $100,000. Stunned, the man asked how less than a minute of sketching could possibly be worth a price that high. Picasso took the sketch back and replied that it hadn’t taken 30 seconds, but 40 years.

“In my experience, I’ve come to realize that no songs are simple,” Taylor says. “Regardless of how long it takes – whether you get lucky and it’s one of those songs that comes in 15 minutes, or three years – I have come to believe that the same amount of complexity goes into both. Even when I’m trying to write a ‘simple’ song, which that one was, it bears the weight of my having worked at it for 30 years. Every seemingly simple line carries that many years and versions of itself beneath the surface.”

At the same time that Jump For Joy is as autobiographical a set of lyrics as Taylor has ever written, the album also has the most outside input of any work in the Hiss Golden Messenger catalog. It has an ensemble feel with a loose-limbed swing to the rhythms, and some genuinely unexpected sonic flourishes. Most notably, “Shinbone” is hung on a synthesizer riff that sounds like it came straight from Talking Heads, circa Speaking in Tongues.

“Mike is definitely responsible for all the lyrics and themes, and he’s the main driving force harmonically,” says Boerner, the group’s lead guitarist as well as Taylor’s main in-the-studio co-pilot. “The rest of it is a lot more contributions from the rest of the band than previously. It’s really something we made together, and I feel like you can hear it. I hope that comes across.”

Scattered across the album are three little atmospheric interludes Taylor inserted late in the process, each of them less than a minute in length. They’re highly idiosyncratic, almost functioning as in-jokes with old field recordings layered in. One of them, “Alice,” features the legendary folk maven Alice Gerrard (whose Grammy-nominated 2014 album Follow the Music was produced by Taylor) counting one to eight so quietly you’ll miss it if you’re not paying attention. She is credited in the liner notes with “counting.”

“I was just looking for a way to let this album breathe a little bit,” Taylor says. “I still try to make long-playing records where you start with side one, track one and let it roll all the way to the end of side two. With that intention comes a desire to let there be a little space between the songs with singing. Like pausing to take a breath. It just felt right.”

Those catch-a-breath in-joke moments serve as respite, too, because Jump For Joy finds Taylor’s thematic leanings as heavy as ever. “Jesus Is Bored (A Teenager Talks to God)” has a reference to the “Starvation Army.” The album-closing “Sunset on the Faders” asks, “Is this how the poets learn to die?” And “Nu-Grape” likens songwriting to stone-cutting.

“When I’m not being zen about it, I do feel like songwriting is that way,” Taylor says. “When I start thinking of it in terms of permanence and lasting forever, it can even feel like gravestone-cutting. When I think in those terms and start feeling like I need to get it exactly right, that kind of pressure is not going to improve the work. So ‘Nu-Grape’ is at root about the impossibility of permanence. A celebration of the attempt to step lightly.”

Indeed, Jump For Joy is actually an apt overall title because, for all the heaviness, it still feels like an attempt to buck up against the long odds of life on planet earth. Times are tough, but redemption is still possible. Or as Taylor puts it in the title track, “Nothing’s a given, in the Book of the Dead or the bed of the living.”

“Each new day seems to contain ever more challenges that can feel insurmountable,” Taylor says, “whether it’s politics, climate, or whatever else. How do I choose to express my energy? Do I look inward and get small? That’s the way I perceive (2021’s) Quietly Blowing It now, turning inward. This one is trying to do something that’s harder for me, which is to be more public-facing. Gather what strands of hope and joy I can and use those to guide me forward even when pessimism feels easier. I have kids, so my perspective on the way the world feels stretches beyond my lifetime. I want to learn to be the person saying, ‘It’s tough out there right now, but there’s still something about humanity that’s worth fighting for.’”

Photo Credit: Graham Tolbert

BGS Top 50 Moments: A Tribute to Jerry Garcia

Posted on by Amy Reitnouer

 

If my words did glow with the gold of sunshine
And my tunes were played on the harp unstrung
Would you hear my voice come through the music?
Would you hold it near as it were your own?

On a warm spring evening in Los Angeles, a revered mix of musicians gathered to lift up the legacy of Jerry Garcia and “to hold the music near as it were their own.”  JUBILEE: A Celebration of Jerry Garcia was a very special, one night only benefit concert paying tribute to his 75th birthday, produced by BGS, Goldenvoice, and the Garcia Family.

With an all-star lineup that included the likes of Hiss Golden Messenger, Billy Strings, Molly Tuttle, Margo Price, Stephen Malkmus, Chris Funk, Sam Bush, David Hidalgo (Los Lobos), Jamie Drake, Josh Ritter, and Amos Lee, supported by a house band lead by Benmont Tench and Mike Campbell (of Tom Petty & the Heartbreakers) and Sean and Sara Watkins (of Nickel Creek and Watkins Family Hour), the evening was a love letter to the man whose influence has continued to reach far beyond the confines of the Dead.

Relive some of the amazing collaborations in the photo gallery below:

Photo Credit: Elli Lauren

BGS & Come Hear NC Explore the Musical History of North Carolina in New Podcast ‘Carolina Calling’

Posted on by Shelby Williamson

The Bluegrass Situation is excited to announce a partnership with Come Hear North Carolina, and the latest addition to the BGS Podcast Network, in Carolina Calling: a podcast exploring the history of North Carolina through its music and the musicians who made it. The state’s rich musical history has influenced the musical styles of the U.S. and beyond, and Carolina Calling aims to connect the roots of these progressions and uncover the spark in these artistic communities. From Asheville to Wilmington, we’ll be diving into the cities and regions that have cultivated decades of talent as diverse as Blind Boy Fuller to the Steep Canyon Rangers, from Robert Moog to James Taylor and Rhiannon Giddens.

The series’ first episode, focusing on the creative spirit of retreat in Asheville, premieres Monday, January 31 and features the likes of Pokey LaFarge, Woody Platt of the Steep Canyon Rangers, Gar Ragland of Citizen Vinyl, and more. Subscribe to the show wherever you listen to podcasts, and be on the lookout for brand new episodes coming soon.

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On ‘O Come All Ye Faithful,’ Hiss Golden Messenger’s M.C. Taylor Sees the Light

Posted on by Editor

When M.C. Taylor presented his idea of a Hiss Golden Messenger holiday record last fall, the label team at Merge Records began scratching their heads. Anyone familiar with the singer-songwriter would agree he just doesn’t seem like the type.

But this juxtaposition is at the heart of Taylor’s intentions to create a more relatable soundtrack for a season he felt has been oversimplified by an excess of enduring holiday hymns and hits. As an artist, he has never connected with the holiday music resounding in big box stores throughout the season. Last winter, in the face of inconceivable global hurt, this flamboyant backdrop felt particularly jarring.

After he wrapped up the Quietly Blowing It LP in the summer of 2020, Taylor still felt the tugging desire to create. While the year stormed outside the tiny window of his home studio in Durham, North Carolina, he was determined to capture authenticity within an often-romanticized season. What began as yet another coping mechanism soon took shape as a Hiss Golden Messenger album, O Come All Ye Faithful.

“There were definitely moments when I was making it when I thought to myself: ‘Am I insane? Has the pandemic made me lose my compass on what my music is meant to do?’” Taylor tells BGS. “But once we were a couple of songs into it, everything sort of clicked into place. I was like, ‘This totally makes sense. This sounds like a Hiss record, actually.’”

A self-proclaimed “second-guesser,” Taylor found creative refuge in a more interpretative state of mind, rather than relying solely on his usual songwriting process. His only directives from the start were to make a record that feels “lush, slow, and contemplative.” Despite these uncharacteristic parameters, his purist approach to the album captures the poignant emotions of closing out a season, or a chapter.

As the year winds down, enjoy our BGS Artist of the Month interview with Hiss Golden Messenger’s M.C. Taylor.

BGS: The holiday album has been done by countless artists. What did you feel you could contribute or expand upon within this enduring tradition, and why is that important to you at this point?

Taylor: Well, I should say at the outset that I’m certainly not an expert on holiday music. I’ve realized that even more over the past couple of weeks when people, knowing that I’ve just made this record, will be like, “Oh man, you’re into holiday music. Have you heard this or that record?” And I’m like, “I haven’t heard any of it.” My collection of holiday records is remarkably thin. I have a handful of “holiday records” that I consistently return to.

But I’ve noticed that often the music I hear, the stuff that seems to get played out in public during the season, doesn’t hit the emotional note that I’m feeling. And it doesn’t really resonate with anyone I know either. This big, brash, brassy, super uptempo, almost turbocharged holiday music seems to be the background to this season, but I started to feel like maybe it doesn’t have to be. Maybe I can come up with something that feels more in step with how everybody I know feels around this time of year.

When did you write these three original tracks, and how do they fit into this concept?

I keep hedging my bets by calling it a seasonal record; I’m not sure how that’s exactly different from a holiday record. But these were all written with this record in mind.

The first one, “Hung Fire,” is a very intimate song and a meditation on this time of year and how hard it can be on many people. It’s sort of a meditation on suicide in a way, which is a bit heavy, but I felt like there was a place for it on this record. Aoife O’Donovan sings on that one. That was the first stuff that she sent back to me after I asked her to sing, and I was just like, “Oh my God!” She is an absolute ace in the hole. She’s one of the greatest singers that I know.

Lyrically, “By the Lights of St. Stephen” is loosely based on this old seasonal song called “The Wren” that I learned from a record by an English family acapella group called The Watersons. So, if you ever find that song, certain lines are similar, and then I kind of take it off into a different place.

I felt it was incumbent on me to nod towards Jewish seasonal traditions. My wife is Jewish, and my kids identify as Jewish, so we put Woody Guthrie’s “Hanukkah Dance” on there. And I was trying to work on another one, but it’s hard to fit the word ‘Hanukkah’ into a song. I had this idea of a song that featured candles, a big part of the tradition. I don’t know if anyone else hears this. Probably not. But I think of “Grace” as the other Hanukkah song.

From your perspective, why did “Shine a Light” and “As Long as I Can See the Light” work well with this theme?

I had a long list of songs I felt could be seasonal songs by association. Meaning if I put them together with other songs like “Silent Night” or “O Come All Ye Faithful,” they could be, in that context, interpreted as a song as it spoke to this particular time of year. Thematically, the record returns to the idea of light and dark, searching for light or a spark during a season that feels quite dark. It also uncovers the notion that we don’t understand light without darkness. I’ve always loved those tunes, and I wanted to see if we could do something to them that made them feel like they were supposed to be on the record.

When we spoke earlier this year, you felt uncertain about getting back on the road after adjusting to life at home. With your tour starting up again, has that feeling changed?

One thing I’ve grown to miss over the past couple of years, aside from playing live in front of people, is routine. And a tour gives me the closest thing that I have to a regular, everyday routine. I’ve always been a creature of habit, but the past couple of years brought this idea home that I function best with like a daily regimen; I like to know what I’m going to be doing. And I can’t say that I had that during this pandemic. Certainly, many of the traveling musicians I know were at loose ends as to what to do with themselves.

How did the pandemic and all the political fury affect your approach to this record?

This idea came in the fall of 2020, a few months after I finished Quietly Blowing It. Again, the approach goes back to this need for routine. I needed to be working on something that kept me busy in the days, and I also needed to be working on something that made me feel peaceful at a time full of chaos and anxiety. So, that was where I went. Music has always been a pretty dependable place for me to go. I’m not even sure that I would have made this record had we not been living in such a chaotic time that felt so full of uncertainty and grieving.

Growing up, what were your family’s traditions surrounding the holiday season? How do you feel that translates in these musical selections?

We celebrated Christmas, and my family was pretty tight. I grew up in Southern California, so I have this specific set of memories, like a beautiful, sunny Southern California Christmas Day — not the norm for most. Strangely, the soundtrack to Camelot was a constant. If you were to ask anybody in my family what holiday music you listen to, everybody would say Camelot. It took me until I was a full-grown adult to realize that that is not technically a holiday record. But somehow, it’s still really associated. If you place songs in the vicinity of the holidays, your brain will start making a connection.

Are there any particular points of nostalgia within your selections here?

It’s kind of a nostalgic feeling record, but I don’t know that it comes from childhood. The songs are not necessarily from my childhood, but I feel like the emotions within the record speak to a bittersweet set of emotions that have been with me since I was a kid. When I was quite young, I remember talking to my mom about the holidays, and she said: ‘This is always a really hard time of year for me.’ And I understood what she was saying. There is a sense of grief that comes with the closing of a year. I feel like that grief can be echoed in the natural world outside as we see things closing up for the winter before the hopefulness that comes with spring. My feelings about the winter holidays have always been a quiet time of contemplation.

Photo Credit: Chris Frasina

Artist of the Month: Hiss Golden Messenger

Posted on by Editor

Hiss Golden Messenger is wrapping up the year with an unexpected delight: O Come All Ye Faithful. Along with the familiar title track, the set gathers a few other hymns (“Joy to the World,” “Silent Night”) and three new songs written by Hiss Golden Messenger’s MC Taylor. The lead track, “Hung Fire,” echoes the feeling of the artist’s album from earlier this year, Quietly Blowing It. Meanwhile, it winds down with a warm cover of Creedence Clearwater Revival’s “As Long as I Can See the Light.”

As for that album cover? It’s an homage to Emmylou Harris’ classic Christmas collection, Light of the Stable. Indeed, both projects provide a subtle (and often lovely) interpretation of seasonal music. On O Come All Ye Faithful, Taylor puts a different spin on “Shine a Light” by Spiritualized as well as “Hanukkah Dance” by Woody Guthrie. He also wrote three new songs for the album.

“Big, brash holiday music — the type that we hear in big-box stores in the middle of December — has never resonated with me, and this past year it felt absolutely dissonant. I wanted to make a seasonal record that felt more in step with the way that I, and so many others, experience this time of year: quiet, contemplative, searching and bittersweet,” Taylor says. “The intention was to make a seasonal record with vibe.”

Special guests on O Come All Ye Faithful include Erin Rae and Buddy Miller, along with members of Hiss Golden Messenger’s extended family. For example, speaking about one of the album’s new tracks, Taylor states, “‘Grace’ is about keeping a light for those that are struggling or lost or confused or grieving: the gone ones, our children, poets, teachers. My friends Nathaniel Rateliff, Aoife O’Donovan and Sonyia Turner help me on the choruses.”

At BGS, we’ve been a fan of Hiss Golden Messenger from the start, so we’ll be sharing some of our archived content on our site and socials, like this interview from June 2021. And in the coming weeks, we will present an exclusive interview with MC Taylor — along with plenty of other holiday content.

As we begin to say goodbye to the year, we’re grateful for the music we’ve received in 2021 and we look forward to more. Season’s greetings to all, and please enjoy this BGS Essentials playlist for Hiss Golden Messenger below.

Photo Credit: Chris Frasina