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Out Now: Lila Blue

Posted on January 12, 2024June 20, 2025 by Justin Hiltner

(Editor’s Note: Don’t miss the exclusive premiere of Lila Blue’s new video, “Stranger,” as part of this edition of Out Now. Watch below.)

Lila Blue writes songs with angst, tender love, detailed guitar lines, descriptive lyrics, and witchy energy. Their lyrics pull you into scenes and stories. They sing with great variation, Lila’s vocals are sometimes harsh, like aggressive growling and howling, while at other times they’re a soft and soothing sound. Their craftsmanship is top-tier; their story lines are intricate and engaging. Lila has been working with several of their collaborators since they were a child, developing strong and meaningful relationships. That kind of connection, understanding, and growth creates the perfect grounds for a cohesive sound.

I’m honored to feature this phenomenal artist. I think you’ll find their sound to be engaging, creative, and distinctive. I hope you enjoy Lila’s music as much as I do.

Do you create music primarily for yourself or for others?

Lila Blue: My creative process has become so tied to performing for others that I’m actually not sure anymore. I think before anything else, I make music because I love what storytelling can do. My first love was the written word, and as a sensitive and frequently-overwhelmed individual, it’s been there for me at every turn. I know that I would still write songs even if I never got to play them for anyone again, but I love watching what stories can do to those they touch and how deliciously unreliable they can be to make and ingest.

What is your greatest fear?

I kid you not, my greatest fear is steep inclines that have unsteady ground. If you ever want to catapult me into a state of pure horror (which as I write this down I realize I’m giving any future foe the ability to undo me…), put me on a hill with loose gravel, a sandy bluff, or even a shaky pair of stairs and my nervous system is toast. I fell down a bluff when I was a kid and it’s been ingrained in me since to avoid shifty ground.

What is your current state of mind?

It’s the final day of 2023 as I’m writing this, so I’m feeling more quiet and reflective than usual. There’s been so much pain this year, personally and globally, and I think I’m trying to hold reverence for the grief that comes with that, while also uplifting joy and mindful action whenever I can.

What’s the best advice you’ve ever gotten?

I had a poetry teacher in college, Marie Howe. In our first class, she made it very clear that if we didn’t know an answer and pretended to, we would be missing the entire point of being a student and a person. I have pretended to know many things that I don’t for fear of missing out or being deemed less smart because of it. Having someone give me the permission to let that go – and illuminate how much I was actually missing out on in doing so – is something I’ve reflected on time and time again.

For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?

I grew up on the Indigo Girls and Brandi Carlile and those folks held out a light for me in their songs to feel seen, to have the thought, “Oh, I can do this as a calling and be vocal about who I am and who I love.” I got to share that with Brandi this year, which absolutely knocked my socks off in the most full-circle way.

I also had a middle school music teacher, Rachel Garlin, who was a proud lesbian folk musician and a huge support in my life at that time. Being in the presence of her living her life happily, full of queer love and music, woke something up in me around how I dreamt about my own future [and that it] was a possible reality. Reading Zami by Audre Lorde in high school was also a big turning point for me and what’s been beautiful about coming out and continuing to grow is that I realized the questioning doesn’t have to end at the point when the closet door opens – we all deserve to have a lifetime of discoveries! I felt that when I found Adrianne Lenker’s work or when I recently read The Argonauts by Maggie Nelson.

What does it mean to you to be an LGBTQ+ musician?

I had a hard time answering this, as there’s so many paths to choose with a question so wonderfully vast. I don’t know how it would feel to not have who I am and who I love intertwined with the art I make, they feel inextricable to me and because of that, I have a hard time pinpointing what it exactly means to me that they intersect. What I do know is that uplifting queer and trans stories that make myself and my community feel desired, honored, seen and held is what I feel called to do with my life, and each time I get to do so and share it with the world, it feels holy to me.

What are your release and touring plans for the next year?

We’ll be releasing two videos for “Stranger” [watch above] and “I Met the Devil,” and a music video for “High on a Hill,” as well as dropping the new merch and vinyl available on my Bandcamp page. I’m planning to tour with my friend and dear collaborator NOGA in the spring, am continuing development on an original musical in February, and in the meantime will be consistently playing shows in NYC starting in mid-January!

Can you tell us a bit about the new video for “Stranger?” We’re so excited to be premiering it within this interview.

I wrote “Stranger” in the green room 15 minutes before going on as an opener for Kevin Bacon’s band in Lincoln, Nebraska, on Father’s Day in 2018 – which sounds like a fever dream when I write it out. Being in the midwest with the Bacon Brothers led to me ingesting a lot of country and folk music on the road and left me with a deep craving to write a tried and true country-folk tune. I wrote it a cappella, and then found the instrumentation a week or so later.

When I wrote it, I thought I was singing it to an “other,” a figment of someone I hoped could love me and see me. Now looking back, it feels like a letter from my closeted 18 year-old self to who I am now: Still ashamed of so much of themselves, trying to write to the stranger they craved to become. It makes me endlessly happy to sing this song to them every chance I get from the proudly queer, and deeply loved self I am now.

The video we got to film in Nashville felt like such a beautiful close to the chapter of bringing “Stranger” to the world. With the small and scrappy team at MOXE, and the amazing Elizabeth Olmstead, I feel we got to showcase what that song is about for me; the music and the words, and the creative lineage that got me there. Myself and long-time collaborators Saskia Lane and Phillip Roebuck got to play through “Stranger” on the beautiful land that MOXE is built on. I got to gaze at the studio in the distance as we sang through a song that means the world to me; I couldn’t have asked for more.

Like you mentioned, you’ve been working with some of your team members and bandmates for over a decade. Could you share that process of growing alongside folks you’ve been working with for years?

I was on a flight the other month with Saskia Lane and Phillip Roebuck (who were the first people I learned how to write songs from) and while the two of them were snoozing, I looked over and had a deep, reflective moment on how lucky I am to be able to collaborate with those who are part of my direct creative lineage. The folks who I made Sweet Pea with literally taught me how to play music, taught me how to be a musician’s musician, and I wouldn’t be the artist and human I am today without them. These songs wouldn’t have bloomed the way they did without Saskia Lane, Phillip Roebuck, Ashley Frith, Gabriel Ebert and Damon Daunno, and Kat Cook’s presence in my life.

You have a distinctive witchy-folk sound. How did you develop your sound and style?

Music has always been a ritualistic and spiritual space for me. As a kid, I was surrounded by folks and relatives who practiced witchcraft and around then I started writing songs in my sleep. Looking back, I wonder if that’s when I was least vigilant to certain turmoils I was going through, but I like to “yes and” when it comes to the rational and the mystic!

From the jump, what’s come out of me is tied to the lineage of folk music and those that taught it to me at the Lake Lucille Project, an artistic commune I’ve been a member of since I was eight years old. Learning to meld my practices of ritual and channeling, with the muscles I’ve built over the years in studying writing and music, has let me feel like I’m not powerless to what comes through me; I think if anything from here things will only get witchier.

Your music plays with intense variation in tempo and dynamics. Some of your songs whisper while others growl. This contrast creates engaging collections of songs. What is it like for you to write with so much diversity in sound?

Thank you for noticing that. I’ve always been really drawn to artists whose bodies of work are full of contradictions. A few months ago, someone asked me what I like most about music. It took me a moment to articulate it properly, but as someone who’s faced a fair share of trauma in my life, with that has come a distortion and “fossilizing” of time. I felt really trapped by my memories and through that felt trapped by time itself. But with music, I found that I could suspend time in the way my trauma did, but not from a foundation of harm. A good song can do that for someone – at least it does that for me. I figured out that for me to keep that suspension going, I needed to make music that felt surprising and dynamic to my ear.

You recently released your fourth album, Sweet Pea. Is there anything you’d like to share with our audience about the new album?

I’ve been so lucky to experiment with every record I’ve done and explore the current themes I felt drawn to at that time. When my producer Jordan Brooke Hamlin and I began to meet and discuss what this record would be about, I realized that I wanted to make a project where if someone asked me who I was when no one was looking at me, I could hand them a piece of music and show them. This is that record for me. If you listen to it, it will tell you all you need to know about me, and it wouldn’t have become that without the amazing crew at MOXE and my bandmates, some of whom have been my collaborators the past 12 years.

Photo Credit: Frank Theodore

“Stranger” Video Credits: Recorded at MOXE in Nashville, TN.
Produced by Lila Blue & MOXE.

Elizabeth Olmstead – Direction, cinematography, & editing
Lila Blue – Acoustic guitar & vocals
Phillip Roebuck – Resonator guitar & percussion
Saskia Lane – Upright bass

Special thanks to Jordan Brooke Hamlin, Lake Wilkinson, Kat Cook, & the MOXE crew.

BGS Class of 2023: Good Country

Posted on December 20, 2023June 20, 2025 by Justin Hiltner

What is Good Country? A great question, to be sure. It’s a new brand coming from BGS in 2024 that will feature all good country. A bi-weekly email newsletter that’s curated and one-of-a-kind, Good Country will feature long reads, playlists, videos, interviews, and more all highlighting the best of country music from across the roots music landscape.

But what is good country? A much more nebulous question! As one wise social media commenter put it, “You’ll believe it when you hear it.” We posed the “What is good country?” question to our BGS contributors and the year-end list they’ve put together is striking in its depth, breadth, inclusion – and it’s full of good country, certainly. From Tanner Adell’s boundary-pushing, pop-inflected country trap to Dean Johnson’s retro, genuine sounds; from Jelly Roll to Kara Jackson, “Fast Car” to “Lavender Country,” good country has been all around us all year.

Whatever good country is to you, we hope you’ll find plenty of it below, within our list of country favorites from across 2023. And, we hope these albums, songs, and performances whet your appetite for plenty more Good Country, coming from BGS in early 2024. Sign up now to be one of the first to enjoy our upcoming newsletter, direct to your email inbox.

Tanner Adell, Buckle Bunny
Before we forget, “Old Town Road” was not only a novelty, but a masterpiece of a country song, and a reminder that the South has always been a vulgar mix – the more vulgar, the more forward-thinking, and the more complexly, political. In a rejoinder to stupid, butch truck songs – and a specific “fuck you” to people like Aldean – Adell’s Buckle Bunny is filled with all kinds of specific geographic detail (see the chorus to “Bake It,” which goes: “Brown sugar caramel/ Ding ding Patti LaBelle/ Sweet potato pussy pie/…”) in service of sexual and political liberation.

On the highlight of the album, “FU 150,” she owns the truck, the means of production, and any man who trifles with either her or her truck. This has been a year of ambivalent women pushing against dumb men (See Pillbox Patti, Elle King, Tigirlily Gold, Kelsea Ballerini, Hannah Dasher, etc.), but this might be the best time I had listening to music this year, and considering how much we had to endure, can’t we have a little bit of fun? – Steacy Easton

“Fast Car” – Luke Combs, via Tracy Chapman
It’s painfully obvious how long overdue it is for Tracy Chapman to be recognized, in this way, as a pivotal American songwriter – plus, the absurdity of her being the first Black person ever to win CMA’s Song of the Year. Still, it’s worth celebrating just how great it is to hear “Fast Car” on the radio again, and for a whole new legion of fans to discover it. – Amy Reitnouer Jacobs

Sierra Ferrell, “Fox Hunt” and “The Garden”
We would be remiss if we failed to include the astoundingly radiant Sierra Ferrell from our inaugural year-end round-up for Good Country. From her baffling multi-instrumentalism to her gilded attire to the floral ornamentation of her microphone, Ferrell has captivated the hearts of troves of roots music fans across the globe. Most recently, she graced us with her single, “Fox Hunt,” and “The Garden,” an original song recorded for the soundtrack of The Hunger Games: The Ballad Of Songbirds & Snakes.

Each release is enchanting in its own right; “Fox Hunt” corrals listeners to the dance floor with its sturdy backbeat and fiery fiddles, while “The Garden” delivers a gorgeous, melancholic waltz full of gentle mourning and fertile metaphor. Ferrell’s capacity to encapsulate such a wide range of emotions through the many textures and tonalities of her talent casts her as a superlative country artist of this day and age. We anticipate, with great impatience, the release of her next album, due to arrive sometime in early 2024. – Oriana Mack

Amanda Fields, What, When and Without
Whether singing with a hard-driving bluegrass band (like 2019’s “Brandywine”), or atop a pedal steel and gut-strung upright bass, Amanda Fields’ voice cuts right through the mix to deliver thoughtful and resonating lyrics. This is the case on What, When and Without, Fields’ first full-length album, and her first project in the country music realm. Produced by Megan McCormick, the album is a master class in taste, musical restraint, and great singing and songwriting. Fields’ Appalachian-inflected vocal, rested on this sonic foundation, says good country about as clearly as it can. You’re going to want to put on headphones for this one! – Thomas Cassell

Paisley Fields at The Knitting Factory, October 15
What is obvious is that Paisley Fields is an important songwriter and a frontperson of immense talent. What only became clear to me at the Knitting Factory’s new Baker Falls, New York City location on October 15th is that Paisley is also an angel. It might have been the reflection of stage lights on sequin, or the fiery righteousness of blues-rocker “Burn This Statehouse Down” (a Mya Byrne co-write), but I left the show convinced of their divine purpose as a prophet of cosmic country. During the encore, I joined the band on stage for an impromptu tribute to our dear departed auntie Patrick Haggerty and forgot all the words to “Lavender Country,” but the whole room sang, “Y’all come out, come out” until I remembered. – Lizzie No

Kara Jackson, Why Does the Earth Give Us People to Love?
You might find Kara Jackson’s manner frank and plain-spoken. That’s a trap. Yes, the young Chicago-raised singer, songwriter, and poet (she was the US Youth Poet Laureate for 2019-20) puts much on the surface, but it’s slippery, shifting ground. It’s right there in the title of her first full album, Why Does the Earth Give Us People to Love?, a question with no answer. She contemplates such things as if on a walk in the park – wandering, meandering. The genre-defiant music, crafted with collaborators Kaina Castillo, Sen Orimoto, and Nnamdi Ogbonnaya, meanders with her, ducking down shadowy side paths, hiding behind trees, dancing in light shimmering through leaves – a short banjo coda here, a swelling choir there. And still questions with no answers, this love and life stuff. In the title song and spiritual center, she laments a friend’s death: “Why does the earth give us people to love, then give them a sickness that kills?” It’s a trap, but it’s going to be fascinating to watch this exceptional artist try to sort it out. – Steve Hochman

Jelly Roll, CMA’s New Artist of the Year
My favorite country artist of the year was Jason DeFord, better known as Jelly Roll. He enjoyed a monster year both commercially and industry wide, winning 2023 CMA New Artist of the Year honors and topping all male country vocalists overall with five nominations. He also earned three CMT Music Awards, with his powerhouse anthem “Son Of A Sinner” – in my view a more explosive and dynamic tune than “Need A Favor.” His performance of the latter with Wynonna Judd and “Love Can Build A Bridge” with K. Michelle during the CMA Awards broadcast were among the program’s highlights, as well as being emblematic of his performing charisma and adaptability. But the documentary, Jelly Roll: Save Me (available on Hulu), documented his troubled teen past and redemption from incarceration and addiction, as well as the many current philanthropic activities that’s seen him use his stardom to aid and inspire others. It represents Jelly Roll’s larger societal impact beyond the music world. He’s also combined a love for classic country, as well as folk and even hip-hop, into a distinctive, identifiable and magnetic sound that made his 44+ city Backroad Baptism Tour one of the year’s best. – Ron Wynn

Dean Johnson, Nothing for Me, Please
Some of us release music relentlessly from a young age and have to get comfortable with the public watching us learn and grow on the job. Others, such as Seattle’s Dean Johnson, wait until they are fifty to release a debut album and then absolutely knock it out of the park from song one. When a friend sent me “Shouldn’t Say Mine,” I assumed it was from a ‘60s era country artist that everyone else knew about but that I had somehow missed. Wouldn’t you know, it’s from Dean Johnson’s Nothing for Me, Please, released this very year on Mama Bird Records. Mama Bird releases some of the best West Coast roots music, including other favorites of mine, like Anna Tivel and Courtney Marie Andrews, and this new release by Johnson will be making waves for years to come. – Rachel Baiman

Brennen Leigh, Ain’t Through Honky Tonkin’ Yet
You know what? Thank goodness Brennen Leigh ain’t through honky tonkin’ yet, someone needs to keep the neon lights burning and the juke box bumpin’ – and we’re glad that someone is Leigh. An album for the lonesome boot scooters, for the belt buckles longing for another to rub up against, Leigh’s prowess as a country alchemist is on fully display, combining sounds from the Midwestern plains, east and central Texas, and Nashville’s lower Broadway refracted through East Nashville and Madison. It’s old country, “real” country, alt country, outlaw country, and more, but most importantly it’s honest, true – and it’s danceable. What’s more traditional than country music that’ll draw tears and flat-footing? The cherry on top of all of it is the picking – you can hear the influence of Leigh’s bluegrass upbringing in every track, like Skaggs in his radio hits heyday or Vince Gill’s bluegrass tinged albums. – Justin Hiltner

Ruby Leigh on The Voice
16-year-old Foley, Missouri native Ruby Leigh moved both Reba McEntire and Gwen Stefani to tears on her first live show appearance on The Voice, when she performed a version of McEntire’s own “You Lie,” from the Voice coach’s 1990 album Rumor Has It. Leigh’s vocals are strong and beautiful, and slightly more developed since her September audition for the show. Then, she performed Patsy Montana’s Country & Western classic, “I Want Be a Cowboy’s Sweetheart,” and got all four judges to turn their chairs – The Voice’s equivalent of a unanimous vote.

The crowds seem to love Leigh as much as the celebrity coaches do. In that clip, with Leigh decked out in red and black Western wear, audience members held up red hair signs to indicate that Leigh should pick McEntire as her coach, which she astutely did. Since her television debut, Leigh has racked up thousands of followers and hundreds of supportive comments on Facebook and other social media platforms — all while performing a super classic repertoire and sound. She even yodels! It’s hard not to love Leigh’s moxy, and it’s just as exciting to see people getting thrilled about country music again. Here’s hoping Leigh continues a winning streak on The Voice, and helps folks see what made this genre so good in the first place. – Lonnie Lee Hood

Mipso, Book of Fools
Mipso has never been entirely bluegrass so much as bluegrass-adjacent, and the North Carolina quartet’s sixth album finds them farther from conventional roots music than ever. But it’s in service to an artistic identity all their own, with lush pop tones and minor-key vibes predominating. As always, Mipso’s most recognizable sonic signature is the dual lead-vocal approach between Libby Rodenbough’s atmospheric dreaminess and Joseph Terrell’s plainspoken drawl. When they come together to harmonize on “Carolina Rolling By,” it’s truly heavenly. The true leap forward on Book of Fools, however, is Terrell’s guitar, which is every bit up to the standards of the singing. It’s jittery and angular on “Radio Hell,” moody on “I Wait For Your Call,” and jagged enough on “Broken Heart/Open Heart” to live up to a title like that. – David Menconi

Lizzie No, “The Heartbreak Store”
Lizzie No’s “The Heartbreak Store” isn’t just a catchy country tune, it’s a lifeline for the heartbroken. Inspired by a transformative tour with queer country trailblazer Patrick Haggerty, the video embodies a message of belonging and acceptance through line dancing. Country music often overlooks queer voices, however Lizzie’s anthem becomes a resonant declaration, echoing the ethos of unity and visibility. With every note, it stitches a musical tapestry of compassion, offering solace and celebration for those who’ve felt the pain of heartbreak, yet hope of community. In under three minutes, it becomes a powerful testament to resilience and love. – Cindy Howes

Jobi Riccio, Whiplash
We’re at last reaching a point where queer creators in roots music are being enabled to offer their identities not as the sole complication or subversion of country norms in their music, but as just one of many inputs that wrinkle and challenge ideas of what country is and to whom it can belong. Singer-songwriter Jobi Riccio has had a breakneck year, with seemingly endless momentum piling up behind her stellar debut, Whiplash. Where the first press releases and official narratives around the album centered a “rainbow cowgirl” story, as critical mass continued to grow behind this set of songs, one could sense Riccio intentionally carving out space for their agency among that momentum. Carefully and deliberately, Riccio has re-centered focus away from reductive “rainbow cowgirl” constructions and toward what matters most: The music.

The music is certainly what deserves the focus, with queerness infused throughout, as if just one of Riccio’s own claims to the “outlaw” movement or as a purposeful snare for normative country expectations. Because these songs are straight-ahead good country – there’s a touch of kd lang’s approach, or the Chicks’, or Indigo Girls’ – Riccio’s identity is still indelible, it shines on every single track. It needs no artificial spotlight, or to be considered monolithic. As they discuss class, image, consumption, heartbreak, restlessness, and so much more, queerness is just one of the many entrancing, complicated threads begging to be pulled as you canter along with Whiplash. – Justin Hiltner

Jordyn Shellhart, Primrose
Those who enjoy the confessional aspects of country music – but crave an unexpected sound and some humanistic insight – should check out Jordyn Shellhart. An emerging singer-songwriter who released Primrose, her album debut in 2023, she stands boldly apart for a singular voice and crystalline roots-pop style, with equally-exceptional lyrics. Whether breezily defying a cultural convention, delivering a mic-drop romantic kiss-off, rhetorically destroying the clueless cruelty of a teenage boy or dissecting her own mental wellness (or lack thereof), her songs are filled with nuance and sharp, straight-to-the-bone hooks, twisting and contorting along the often irregular path of real life. With the power to make a crowd of jaded journos cry, but very little exposure, she’s almost criminally under-appreciated – although we could fix that. – Chris Parton

Photo Credit: Lizzie No by Cole Nielsen; Brennen Leigh by Brooke Cooper; Kara Jackson by Lawrence Agyei.

BGS 5+5: H.C. McEntire

Posted on February 7, 2023June 20, 2025 by Editor

Artist: H.C. McEntire
Hometown: Durham, North Carolina
Latest Album: Every Acre

What’s your favorite memory from being on stage?

Probably playing on stage at the Ryman Auditorium in Nashville, and getting to open for and perform with the Indigo Girls there. It is often considered the church of country music in the U.S. You can feel it, from the church pews, to the stained glass, to the energy of everyone who’s ever played there—most of them iconic in the American music canon. Honestly, I cried a little in the dressing room after we came off stage that night. I didn’t expect to be so moved, but I was. Full of gratitude. Hugged each of my bandmates for a little longer than usual. It’s like you have arrived somewhere, wherever that is, when you finally get to play the Ryman. I remember driving home to North Carolina the next day, going across the Blue Ridge mountains, and thinking something like “I don’t have anything to prove now” and just smiling.

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

I find art created in mediums other than music incredibly inspiring and their influence reaches me probably even more impactful than other music. I love to read poetry, prose, memoirs, mostly nonfiction, and mostly in short-form. Historical documentaries are often a part of my week; they seem to stimulate me and help me relax a bit. Though I’m certainly not someone who keeps up with current or cult films—in fact, often I forget the details and plotlines relatively quickly after watching full-length dramas—the process of learning how to make basic music videos to accompany singles from Every Acre has been pretty exciting. Just editing in iMovie, you know—but it’s letting me see my work in different perspectives and interact with it on a different level, especially in the pacing and space. As I’ve gotten older, I’ve become really fascinated by movement and dance, the choreography and execution of it—both modern and experimental as well as traditional forms like ballroom and folk. Most significantly, whenever I hit a creative wall with my own work I tend to switch gears and go to an art museum, let the creations of others move me, pull me out of myself for a while.

What rituals do you have, either in the studio or before a show?

These are boring, but they are honest. On tour, I go on a morning run and spend time stretching and meditating, setting intentions for the day, centering myself mentally and psychically. Closer to show time, I do some basic vocal warmups for a few minutes, get the guitar in my hands and go over a few songs so my fingers feel ready. Cough drops, hot water, honey. In the studio, I like to cleanse the space by burning dried herbs and bringing in a couple personal items that bring me a sense of safety and sacrality. Also, there’s something about recording on a full moon; I always lean into that if the calendar allows.

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

I was blessed early on in my career to befriend and be mentored by Amy Ray (of the Indigo Girls) and she has taught me so much—like how important it is to rigidly retain your integrity above all else, to hold it with more gravity than any accolade or opportunity; how self-preservation is crucial to sustaining a healthy relationship with music as a career; take performing seriously and practice regularly; never take one audience member or listener for granted and in fact be explicit and liberal with showing earnest gratitude for their support—make time to shake hands and connect whenever possible, with the house production crew and the person who drove hours to see you play; the importance of putting your heart and full spirit into whatever you’re performing; to write honestly, even if the truth is uncomfortable to others, even you; and perhaps most importantly, she has shown me how important it is to champion contemporaries, especially women and minorities, and be convicted in causes you believe in.

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

I’m grateful to live in an area with many hiking trails and nature preserves—my favorite being the Eno River State Park. The natural world plays a large part in my life—it inspires, educates, and mesmerizes me every day. I grew up in the countryside of western North Carolina, so I find great security in being surrounded by nature. It is holy to me, it is real, it is honest; it reminds me of how interconnected everything is, how vast, how even small ecosystems have a power and purpose; it helps me center and ground which also allow me to push creatively. Nature offers endless enamorment and I have deep gratitude for and honor every bit that welcomes me to stand in it, even for a moment.

Photo Credit: Heather Evans Smith

MIXTAPE: Mary Bragg’s Songs That Talk About the Hard Stuff

Posted on October 17, 2022June 20, 2025 by Editor

Working your way through a hard time is pretty much impossible without the relief that comes from listening to music. In the last four years, I’ve focused a large amount of my listening on songs that talk about the hard stuff, just so I can feel better about my own. Coming out; divorce; difficult family dynamics; political divisiveness — any one of those things could send anybody reeling, but put ‘em all together, and wow, time to put on some tunes. — Mary Bragg

Aaron Lee Tasjan – “Up All Night”

Aaron’s sense of freedom and celebration of self combined with his outrageous talent for songwriting and production comes together wistfully in this wild piece of ear candy that I can never get enough of.

Joy Oladokun – “Breathe Again”

“Breathe Again” was the song that introduced me to Joy’s music, and it is just the most life-giving sentiment spoken through pain with honesty. It’s been meditative and healing for me.

Tegan and Sara – “Closer”

What a bop.

Gillian Welch & Dave Rawlings – “Hard Times”

There’s a Gillian & Dave song for every season of life. This one, of course, could apply to any kind of hard time you’re going through, and Gillian’s lilting delivery has me simultaneously sitting in my pain and crawling out of it one refrain at a time.

MUNA feat. Phoebe Bridgers – “Silk Chiffon”

Again with the bops- MUNA flings themselves into romantic pop bliss and brings us along for the party.

Stephanie Lambring – “Joy of Jesus”

People sure love to talk about your “lifestyle choices.” What I know is that living fully in my heart and my body and mind should not put me in a category that’s cast out, made less than, or made the subject of anyone’s ire. I won’t be told I’m going to hell just for loving an incredible human being who happens to be of the same sex.

Erin Rae – “Bad Mind”

It’s hard to believe that in 2022 there are still millions of people who think you’ve lost your mind for loving a person. Loving a person. And yet, those opinions are much stronger and more deeply felt than I ever realized they were; they can creep into your psyche and try to steal your joy, but I’m just trying to live a good life that leads with love, so I keep showing up as myself, trying my darnedest to claim and protect my own happiness.

Indigo Girls – “Closer to Fine”

More so heroes to me now than they already were, returning to this iconic song has taken on new meaning for me since I came out. Amy & Emily have been trailblazers for a long time, and funnily enough, they were the representation I didn’t know I needed as a teenager. I’m so thankful they exist in this world the way that they do — boldly living their lives but always leading with love and respect.

Grace Pettis feat. Indigo Girls – “Landon”

Producing this album for Grace lives in an almost surreal, fantastical pocket of my memory. When I first heard the demo of this song, I was floored by her willingness to talk about formerly being in that place of judgment; she tells the story of a changed friendship, a forgiveness of self, and a reconciliation that we can all hope for. I had this audible vision of the Indigo Girls’ voices taking it to a new place, and wow, did they ever. I’ll never forget how wonderful an experience it was for me to comp their vocals and drop their magic into this transformative song.

Bill Withers – “Lovely Day”

I’m such a fan of Bill Withers. With a penchant for capturing positivity and heartache in a series of brief melodic nuggets, this one pops up as one of the songs I find playing on repeat in my subconscious, willing a lovely day into existence.

Kacey Musgraves – “High Horse”

Craving a common ground where no one’s on any kind of high horse, this one is a gift to me, expressing frustration with the holier-than-thous. I can’t tell you how to live your life, so…

Brennen Leigh – “Billy and Beau”

The fact that Brennen is of our generation is some kind of country music miracle. Extremely well-versed in the great landscape of country music, yet bold as anyone, here she and Melissa Carper give us the sweetest anthem — “the heart wants to go where the heart wants to go, and you can’t undo it.”

Tom Petty – “Listen to Her Heart”

What intentionally uplifting rock-n-roll moment is complete without Tom Petty? I really believe in listening to your instincts — that feeling you know can trust implicitly, which of course cannot be ignored. “She’s gonna listen to her heart” — you betcha.

Photo Credit: Shervin Lainez

Basic Folk – Amy Ray

Posted on September 22, 2022June 20, 2025 by Shelby Williamson

Amy Ray is best known for being one half of Indigo Girls with Emily Sailers, a band that’s been going strong since the late 80’s. She’s also known for her activism and love for all types of music. On her latest solo album, If It All Goes South, Amy’s bringing us songs of comfort and healing. Recorded live to tape in Nashville, this album features an incredible lineup of guests like Brandi Carlile, I’m With Her, Allison Russell, Phil Cook and Alison Brown. She’s confronting racism, homophobia, religion and mortality in her songs and we go deep into those topics in this episode.

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Aside from exploring gender identity and being comfortable in your own body, I had an agenda in our interview. I’ve talked about this a little on the podcast, but recently our dog Willis suddenly and unexpectedly died. Amy’s new album features the song “Muscadine,” which was written when her oldest dog passed away. The song’s about “learning to love and receive love in the purest way, and to not be picky about life, but to stay the course with curiosity and gratitude.” I was grateful for Amy’s words of wisdom about the loss of a dog and am happy to share them with you. Actually, Amy’s full of wisdom and is always so open to whatever questions come her way. Enjoy this conversation with a very, very good person.

Editor’s Note: Basic Folk is currently running their annual fall fundraiser! Visit basicfolk.com/donate for a message from hosts Cindy Howes and Lizzie No, and to support this listener-funded podcast.

Photo Credit: Sandlin Gaither

Americana Honors & Awards 2022: See the Full Winners List

Posted on September 15, 2022June 20, 2025 by Shelby Williamson

It was a wonderful night of music, celebration, reflection, and joy last night at the Ryman Auditorium as folks gathered for the 21st Annual Americana Honors & Awards.

Billy Strings was crowned Americana’s Artist of the Year, with Jerry Douglas presenting the award.

Triple nominee Allison Russell earned the Album of the Year Award for her record Outside Child, produced by Dan Knobler. She accepted the award from respected music critic and NPR writer Ann Powers.

Allison Moorer and Hayes Carll awarded two-time Artist of the Year Brandi Carlile for the Song of the Year with “Right On Time,” written by Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth.

The War and Treaty (Michael and Tanya Trotter) won Duo/Group of the Year after winning Americana Emerging Act of the Year in 2019.

On the heels of her new album Long Time Coming, Sierra Ferrell was also honored by the Americana music community and received this year’s Emerging Act of the Year Award.

Multi-instrumentalist Larissa Maestro took home the Instrumentalist of the Year Award, as Molly Tuttle recognized the Berklee College of Music grad. Maestro has performed and recorded with many high caliber artists and musicians, including Allison Russell, Mickey Guyton, Eminem, Ms. Lauryn Hill, H.E.R., Michael Bublé, Margo Price, and Gillian Welch and Dave Rawlings.

Highlights from the evening include Brandi Carlile and Allison Russell delivering a soul-stirring rendition of “You’re Not Alone,” as well as the iconic McCrary Sisters honoring their late sister Deborah (who passed away in June) with a chills-inducing performance of “Amazing Grace.”

Americana stalwart and reigning All-Star Band musical director Buddy Miller was surprised by Robert Plant, who presented Miller with The Lifetime Achievement Award, which was previously unannounced. Miller graced the audience with his classic “Wide River To Cross.”

Throughout the night, attendees were treated to additional performances by the Fairfield Four, Indigo Girls, Lucinda Williams, Adia Victoria, James McCurtry, Lukas Nelson, Morgan Wade, Neal Francis, The War and Treaty, Sierra Ferrell, and JP Harris honoring the late Luke Bell.

Previously announced Lifetime Achievement honors were accepted by the Fairfield Four (Legacy of Americana Award, co-presented with the National Museum of African American Music [NMAAM]), presented by NMAAM’s Katie Rainge-Briggs and award-winning producer Shannon Sanders; Chris Isaak (Performance), presented by Lyle Lovett; the late Don Williams (President’s Award), presented and accepted on behalf of the Williams’ family by producer Garth Fundis; Al Bell (Executive), presented by music executive and Chairman of the Black American Music Association Michael Mauldin; and the Indigo Girls (Spirit of Americana Award, co-presented with the First Amendment Center), presented by Brandi Carlile and First Amendment Center’s John Seigenthaler.

Here’s the full list of the 2022 Americana Honors & Awards Winners and Honorees:

Album of the Year: Outside Child, Allison Russell; Produced by Dan Knobler

Artist of the Year: Billy Strings

Song of the Year: “Right On Time,” Brandi Carlile; Written by Brandi Carlile, Dave Cobb, Phil Hanseroth and Tim Hanseroth

Duo/Group of the Year: The War and Treaty

Emerging Act of the Year: Sierra Ferrell

Instrumentalist of the Year: Larissa Maestro

Legacy of Americana Award, presented in partnership with the National Museum of African American Music: Fairfield Four

President’s Award: Don Williams (posthumous)

Lifetime Achievement Award for Performance: Chris Isaak

Lifetime Achievement Award for Executive: Al Bell

Spirit of Americana Award: Indigo Girls

AMERICANAFEST 2022 Preview: Check Out These Panels, Parties and Showcases

Posted on September 6, 2022June 20, 2025 by Editor

Even if you’re from Nashville or you’ve visited Music City many times, AMERICANAFEST always offers something new. This year, the annual event encompasses more than a dozen places to hear live music, as well as an impressive slate of industry panels and a near-endless list of parties. Where to begin? Although this story is by no means definitive, here are some promising highlights from the 2022 Americanafest daily schedule.

Tuesday, September 13

If you’re in town early, come say hello to BGS at Station Inn, where Jason Carter & Friends will take the stage. Doors at 8. Although it’s not open to the public, all conference and festival passholders are welcome. To pick up your pass, you’ll need to swing by City Winery or the Westin (the host hotel) earlier that day. An exploration of East Nashville might also be in order, with The Old Fashioned String Band Throwdown from 6-9 p.m. at Dee’s Country Cocktail Lounge.

Wednesday, September 14

A plethora of panels awaits conference registrants at the Westin, along with a couple of notable interview sessions. The Indigo Girls will be interviewed by NPR Music’s Ann Powers at 10 a.m. (They’ll be honored with a Lifetime Achievement recognition at the Americana Music Honors & Awards later that night too). Stick around for a conversation between Dom Flemons and Asleep at the Wheel’s Ray Benson, presented by WSM’s American Songster Radio. After that, Stax Records’ Al Bell and Deanie Parker will discuss the historic Wattstax festival in 1972.

You can count on BGS for another party as we celebrate our 10-year anniversary with a happy hour at City Winery Lounge from 3 – 5 p.m. Conference and festival passholders welcome. Special performers include Kyshona, Rainbow Girls, and Willie Watson. And after the awards show, there’s an abundance of awesome shows to consider, including a rare solo set by Angel Olsen (our BGS Artist of the Month in August) at Riverside Revival, a set from Bill Monroe acolyte Mike Compton and a surprise headliner at Station Inn, and an acoustic showcase from members of North Mississippi Allstars at Analog at Hutton Hotel immediately followed by Texas great Joshua Ray Walker.

Thursday, September 15

One of the most intriguing panels on Thursday is titled The Narrators: How Jake Blount, Leyla McCalla and Kaia Kater Re-Mapped the Past, Present and Future With Concept Albums. As the Americanafest app points out, all three artists are students of musical and cultural traditions, as well as Black banjo players. The conversation takes place at noon with moderator Jewly Hight. Coincidentally, these three performers are showcasing at the exact same time later that night, so here’s your chance to catch them all at once.

Ishkōdé Records will celebrate Indigenous voices from Turtle Island at Dee’s Country Cocktail Lounge from 1-4 p.m., with performers such as Amanda Rheaume, Aysanabee, Digging Roots and Evan Redsky. If you’re lucky enough to get into the Bluebird Cafe for a 6 p.m. show, you can enjoy a songwriting round with Gabe Lee, Tristan Bushman and British artist Lauren Housley. A Tribute to Levon Helm with an all-star cast closes out the night at 3rd & Lindsley, following an evening of music with Arkansas roots.

Several of the most buzzed-about showcases of AMERICANAFEST will take place at the Basement East, with a strong lineup boasting Rissi Palmer, Molly Tuttle & Golden Highway, Trousdale, Bre Kennedy and Jade Bird. If you’re up for bluegrass, the City Winery Lounge lineup includes Tammy Rogers & Thomm Jutz alongside rising talent like the Tray Wellington Band and Troubadour Blue. If honky-tonk is more your style, stay up late for Jesse Daniel at 6th & Peabody, with original music that pays homage to the Bakersfield Sound without losing its contemporary appeal.

Friday, September 16

Diversity is a common theme on Friday’s daytime events, with panels like Booking With Intent: How Curating the Stage Impacts Industry Diversity and How Americana Music Is Embracing Minority Representation. Of particular note, British artist Lady Nade speaks on the influence of Black music in country and Americana in a panel titled You Can’t Be What You Can’t See: Why Representation Is Vital for the Americana Genre. Look for a conversation and performance at the Country Music Hall of Fame and Museum at noon with rising artists from the Black Opry Revue.

To list all the parties on Friday would take up this whole page. To socialize, you’ve got options ranging from songwriting rounds to label parties to multiple happy hours. (If you’re a craft beer drinker who loves to linger on the deck, it’s worth a visit to Tennessee Brew Works, where Hear Fort Worth is setting up shop.) As for BGS, you’ll find us at the Basement for a party presented with Nettwerk Records and Taylor Guitars. The public may RSVP through the invitation below.

This might be a good time to mention one of the festival’s new venues, The Well at Koinonia. This cozy coffee shop on Music Row played a crucial role in the development of contemporary Christian music, once lending its small stage to a then-unknown Amy Grant. For AMERICANAFEST, it’s providing a listening room environment for a number of quieter artists who still deserve to be heard, such as Nashville songwriter-producer Alex Wong, award-winning acoustic guitarist Christie Lenée, mesmerizing folk duo Ordinary Elephant, Australian troubadour Colin Lillie, and the accomplished Mexican-American musician Lisa Morales on Friday night. If you’re interested in early shows (starting at 6 p.m.), easy parking, and/or enjoying music in a non-alcoholic environment, make an effort to get refueled here.

Not far away lies one of Nashville’s musical landmarks, The Basement (a.k.a. “The Basement O.G.”), and if you’re in town to discover some overlooked voices, this might be an ideal spot to start. Drawing on blues and rock, Chicago musician Nathan Graham is making his AMERICANAFEST debut this year, followed by Southern slide guitarist-songwriter Michelle Malone, who’s touring behind new material like “Not Who I Used to Be.” At Exit/In at 9 p.m., Michigan Rattlers are among Americana music’s best storytellers, with a vibe that’s kind of brooding but still has some rock ‘n’ roll swagger. Hang around for 49 Winchester, a Virginia ensemble that’s been DIY for most of its career. However, 2022’s Fortune Favors the Bold is garnering some much-deserved attention. Listen closely for the Exit/In reference in standout track, “Damn Darlin’.”

For something more mellow, you can zoom over to City Winery for a late set by Milk Carton Kids. It wouldn’t even feel like AMERICANAFEST without seeing these guys. Earlier in the evening, longtime festival favorite Ruston Kelly will play alongside his dad, Tim Kelly, performing exquisite songs that they recorded together (with Ruston serving as producer). Gaby Moreno, Henry Wagons and Rainbow Girls are also on the well-rounded bill. Go ahead, order a bottle.

Saturday, September 17

By the time the weekend arrives, the panels have wrapped and the parties are well underway. You can peruse the Americanafest app for all the options, but first, settle in at City Winery for the Thirty Tigers Gospel Brunch from 11 a.m. to 1 p.m. (It’s on Saturday this year, rather than Sunday.) Artists appearing include Alisa Amador, Brent Cobb, Emily Scott Robinson, Stephanie Lambring, The Fairfield Four and The McCrary Sisters. Musicians Corner in Centennial Park also features free afternoon sets from Nashville mainstay Josh Rouse, Brooklyn’s own Bandits on the Run, Los Angeles songwriter Chris Pierce, Canadian banjo player Ryland Moranz, and more.

Over at The 5 Spot, Alabama bluesman Early James anchors a lineup with Theo Lawrence (a French songwriter-guitarist who opened dates for Robert Plant and Alison Krauss in Europe), Canadian musician Megan Nash, and new ATO Records signing Honey Harper. The night concludes with an 11 p.m. showcase titled Luke Schneider & Friends: A Pedal Steel Showcase. For something similarly atmospheric, consider a one-night-only event, Phosphorescent Performing Songs From the Full Moon Project, also at 11 p.m. at Brooklyn Bowl. He’s promising to play more songs than just the covers he’s chosen for this unique album, so you can bask in the afterglow of an incredible week of music.

For more information about these events and countless more, visit AMERICANAFEST.COM.

Artists featured at top (L-R): Phosphorescent, Molly Tuttle, Dom Flemons, Angel Olsen

The Show On The Road – Mary Gauthier

Posted on June 3, 2022June 20, 2025 by Shelby Williamson

This week, the show dials into the Nashville studio of one of the most gifted songwriters and empathic storytellers of her generation: Mary Gauthier. While Mary has become known for her darkly honest tales of overcoming addiction and seeking truth and joy after overcoming her troubled upbringing in Louisiana, she was nominated for a Grammy for her devastating record Rifles & Rosary Beads (co-written with U.S. veterans and their loved-ones), and her new record may be her most surprising and moving collection yet.

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Dark Enough to See the Stars, which drops June 3 on Thirty Tigers, is in many ways an unabashed romance album — celebrating, in her own sardonic John Prine-meets-Anthony Bourdain style, how lovely it can be to find true love and creative joy at long last.

During the pandemic she began performing a weekly stream called Sundays With Mary with her amor — the talented songwriter Jaimee Harris — and while Gauthier has now returned to the road, the cathartic weekly song sharing show has continued, too. Harris helped write the swoon-worthy traveling song “Amsterdam” on the newest LP.

Gauthier’s road to stability and creative contentment was a long one. As she gamely explains in this intense conversation, she made the leap to leave the relentless life of being a cook and restaurant owner (and partaker in too many illegal substances) and devoted herself to songwriting after getting arrested at thirty. Was she an instant hit on folk stages in her then base of Boston? Not exactly. In fact, she couldn’t step on any stage without shaking. But she kept at it and the stories flowed. Early tours with Prine gave her confidence. Her breakout record Mercy Now (2005) chronicles her technicolor debauched early years with the clear-eyed grace of the newly sober, trying to give forgiveness to her troubled family and to herself for making it through. Being an openly gay songwriter, she took early inspiration from her heroes the Indigo Girls who showed her there was a place for a new kind of empowered songwriting — not just for women, but for anyone who wanted to look deeper into what women are experiencing behind closed doors.

If Gauthier has one superpower as a songwriter it’s her ability to empathize with everyone around her — even the troubled soldiers who she teamed up with on Rifles & Rosary Beads. We have way more in common with each other than many may think, and overcoming trauma is pretty damn universal. Her book Saved by a Song: The Art and Healing Power of Songwriting is her most powerful collection of stories, and may explain best how her art has evolved in the last two decades, plus on the road.

Photo Credit: Alexa King Stone

Grace Pettis, With Support From the Indigo Girls, Reconnects With “Landon”

Posted on September 1, 2021June 20, 2025 by Editor

Grace Pettis tells a dramatic story of regret in “Landon,” as she carefully weaves together her account of what happened in small-town Alabama when her childhood best friend came out of the closet. Instead of finding the loving support of a close friend, the song’s subject found judgment and scorn.

“Landon needed somebody to be on his side. He trusted me. And I let him down,” she says. “Instead of listening and responding with love and acceptance, I replied with a lot of canned answers taken from my Christian belief system, what the church taught me to say. Years of soul-searching, prayer, and information gathering led me to a very different place. I knew that I had wronged Landon in a way that I could only explain in a song.”

Years down the line and now based in Austin, Texas, Grace Pettis wrote her heart’s sorrow and contrition into a song that can only suggest the emotional complexity of her experience. But this story doesn’t end here. Thankfully, the subject of the song heard her words and the two have mended their fences. “We are in a great place now,” she says. “He’s forgiven me, and we get to be close in a new way, now that we’ve made peace with ourselves. We’re both living a true story now.”

In July, Pettis released a new version of the song (after the original acoustic video premiered on BGS), this time backed by the Indigo Girls. In addition, the new music video features the very friend who inspired the song. Take a look at “Landon.”

Photo credit: Nicola Gell

The BGS Radio Hour – Episode 216

Posted on August 24, 2021June 20, 2025 by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week, David Crosby and Sarah Jarosz join up for a Joni Mitchell number, husband-and-wife duo Darin and Brooke Aldridge bring us some beautiful bluegrass harmonies, LA’s own Los Lobos share their rendition of a favorite Jackson Browne tune, and much more.

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The Wallflowers – “Maybe Your Heart’s Not In It Anymore”

25 years after their breakout hit and almost a decade after their most recent release, The Wallflowers are back with a new album, Exit Wounds. In our interview with Jakob Dylan we talk about the project, singing with Shelby Lynne, the documentary Dylan executive produced, Echo in the Canyon, and more.

Ric Robertson – “Carolina Child”

We spoke with Ric Robertson about playing a popcorn kernel in a musical as a kid, his kite surfing aspirations, his new album Carolina Child, and more in a recent edition of 5+5.

Amy Ray Band – “Chuck Will’s Widow”

Amy Ray of The Indigo Girls finds herself often haunted by the song of the nocturnal songbird, the Chuck-will’s-widow: “I find that I witness the most profound moments in the midst of their songs, when everyone else is asleep. While I am often in need of rest, the respite I find in being awake under a miraculous and melodic night sky is too tempting for me to sleep. It’s a conundrum that inspires me, but also leaves me bleary-eyed.”

Darin and Brooke Aldridge – “Once In A While”

Bluegrass husband-and-wife duo Darin & Brooke Aldridge hope that every aspect of their music makes you smile — even more than “Once in a While!”

Matt the Electrician – “Home Again”

Folk singer-songwriter Matt The Electrician will return with a new album called We Imagined an Ending in November. A new track, “Home Again,” takes inspiration from the point of view of his teenage daughter. “The conundrum of parenthood, that as you finally start to figure some things out, and try to pass along some of that hard won wisdom, you’re greeted with your own teenage face staring balefully back at you.”

Tobacco City – “AA Blues”

Says Chris Coleslaw of Tobacco City’s latest single, “The character in the song is trapped between working in a brewery and staring at beers all day and trying to walk a sober line. I think regardless of your sobriety status we can all relate to those kind of blues.”

Jesse Daniel – “Clayton Was A Cowboy”

Jesse Daniel spoke with us about his new album, Beyond These Walls, about growing up catching crawdads and fishing, the chills-inducing feeling when a crowd sings along with his lyrics, and more in a recent 5+5.

Joy Oladokun – “Judas”

Joy Oladokun is able to do more with just an acoustic guitar and her voice than many artists can in an entire discography of work. And going from Arizona to L.A. then across country to Nashville with a new outlook and perspective, her music stands on a plane with a unique vantage point.

Luke LeBlanc – “Same Blues”

A new video for Luke LeBlanc’s co-written tune with Roy August, “Same Blues,” attempts to capture what the song is about: the tug of war between the status quo and what you’re currently doing versus that thing you really want to do.

Midnight North – “Silent Lonely Drifter”

“Silent Lonely Drifter” is an original folk melody reminiscent of timeless Appalachian string band music. Each verse references a different full moon, speaking to the natural balance that exists in the universe.

Los Lobos – “Jamaica Say You Will”

The Jackson Browne tune “Jamaica Say You Will” always resonated for the fellas of Los Lobos and the narrative and storytelling were attractive, too. So, they recorded their own rendition of the track on their latest project, Native Sons.

Aoife O’Donovan ft. Milk Carton Kids – “More Than We Know”

New music from Aoife O’Donovan is here and we’re loving it! Hear tracks created with Joe Henry and the Milk Carton Kids — one inspired by the modern classic re-telling of Peter Pan, the movie Hook.

John R. Miller – “Shenandoah Shakedown”

Depreciated, the new Rounder Records release from singer-songwriter John R. Miller, combines many of his string band and bluegrass influences with a satisfyingly melancholy and dark mood — plus plenty of fiddle.

David Crosby ft. Sarah Jarosz – “For Free”

Legendary singer, guitar picker, and songwriter David Crosby keeps his love for collaboration alive on his new album, For Free, which features guests and co-writers such as Sarah Jarosz, Michael McDonald, his son James Raymond, and more.

Photos: (L to R) Joy Oladokun by Nolan Knight; Aoife O’Donovan courtesy of Shorefire Media; David Crosby by Anna Webber