This week, BGS readers enjoyed a track premiere from California-based string band Moonsville Collective, as well as our very first Rootsy Summer Session featuring an exclusive performance by Israel Nash on the streets of Falkenberg, Sweden. Also, in this week’s edition of Out Now, we highlighted a brand new single from Mary Bragg, too.
Featured in today’s premiere round-up, You Gotta Hear This, is new music from bluegrass supergroup Sister Sadie with their illustrious friend, Ashley McBryde, plus producer, guitarist, musician extraordinaire John Leventhal, Liam Purcell & Cane Mill Road, the Grackles featuring Kat Edmonson, and North Carolina bluegrass/Americana outfit Unspoken Tradition.
We hope you enjoy a week’s worth of new music and videos; ’cause You Gotta Hear This!
Sister Sadie, “Ode to the Ozarks” (featuring Ashley McBryde)
Artist:Sister Sadie Hometown: Nashville, Tennessee Song: “Ode To The Ozarks” (featuring Ashley McBryde) Album: No Fear Release Date: January 26, 2024 Label: Mountain Home Music Company
In Their Words: “This song was originally sent to me by a great songwriter from Nashville that we’re all big fans of, Marcus Hummon. When I heard the demo, I could hear us doing it immediately in my head and sent it around to the band. I thought it would be a great fit for us and had some awesome vocal harmony possibilities. The song was co-written by Ashley McBryde and Kat Higgins, who we’re also big fans of. In the meantime, Dani Flowers had joined Sister Sadie and is very close friends with Ashley. So of course she was an advocate for doing the song as well, and asked Ashley if she would consider singing on it with us in the studio. She graciously agreed and we were so honored to have her join us! We’re grateful to Marcus, Ashley, and Kat for entrusting us to give it the right treatment. It has a very ‘swampy’ feel and is such a FUN song to perform live. We got to perform this song on the Grand Ole Opry with Ashley and that was such a special memory for us all! Hope you love it as much as we do.” – Gena Britt, banjo
“I am so happy with the way ‘Ode To The Ozarks’ turned out. It ended up so funky and dirty with the stellar musicianship of Seth Taylor, Tristan Scroggins, and Tony Creasman added to the Sadie girls. We are so honored that Ashley McBryde agreed to sing on this one with us. The icing on the cake!” – Deanie Richardson, fiddle
John Leventhal, “That’s All I Know About Arkansas” (featuring Rosanne Cash)
Artist: John Leventhal Hometown: New York, New York Song: “That’s All I Know About Arkansas” (featuring Rosanne Cash) Album:Rumble Strip Release Date: January 26, 2024 Label: RumbleStrip Records
In Their Words: “Rosanne had these lyrics. I wasn’t sure what they were actually about, but I loved them and they seemed to fit with a weird West African-bluegrass riff I had. There are two distinct guitar solos, each a tip of the hat to two musicians to whom I owe a debt: Ry Cooder and Clarence White.” – John Leventhal
Grackles, “Top Of The World” (featuring Kat Edmonson)
Artist:Grackles Hometown: Austin, Texas Song: “Top Of The World” featuring Kat Edmonson Album:Grackles Release Date: February 24, 2024 (album)
In Their Words: “‘Top Of The World’ was a beautiful chord structure Jason [Mozersky] had, that we all sat and strummed together on acoustic guitars live in the studio with upright bass and brushes on the drums. It instantly felt so warm and welcoming. I knew I wanted to sing it way lower than normal, so got Kat Edmonson to sing the melody with me. Sort of a Lee Hazelwood and Nancy Sinatra vibe. Lyrically, it’s pretty straight forward. It’s such a short, honest piece, I really tried hard not to let the words get in the way. I’m happily married and with a beautiful daughter and find my own life to be pretty damn great. Meanwhile the world around me crumbles. We bounce from one shit storm to the next, and try desperately to keep it together.” – Noah Lit
Liam Purcell & Cane Mill Road, “Homesick For Virginia”
Artist:Liam Purcell & Cane Mill Road Hometown: Deep Gap, North Carolina Song: “Homesick For Virginia” Album:Yellow Line Release Date: January 26, 2024 Label: Pinecastle Records
In Their Words:“This song (penned by Colton Kerchner) is a story of misadventure and longing for home. Though the song is straightforward and wrapped in a 3/4 bluegrass power waltz, I felt like a lot of folks could relate to the message behind it. Being young, 20-something musicians out there on the road, home is always on our minds along with our friends and family, who we frequently miss. This is one of the more traditional tunes on the album, and I thought the guys really knocked it out of the park with the feel of that old Stanley-inspired sound.” – Liam Purcell
Unspoken Tradition, “Weary Town”
Artist:Unspoken Tradition Hometown: Cherryville, North Carolina Song: “Weary Town” Release Date: January 26, 2024 Label: Mountain Home Music Company
In Their Words: “Our hometown was a great place to grow up. It thrived for decades because of a trucking company founded by some of its citizens. Many locals found work there; it was almost analogous to a mining town. That trucking company was bought by a larger corporation that ultimately closed the terminal, and the town became a shell of its former self in a matter of a few years. It hurts in a way only bittersweet nostalgia can, to know that the town where I made so many memories exists in name only. When John Cloyd Miller sent us this one, it just ripped at my heart, because it makes the struggle and loss of a fading town so real. ‘What’s it gonna take for us to hold on?’ Iris Dement couldn’t have written a better love letter to a fading town!” – Audie McGinnis
Israel Nash, “Lost In America” (Rootsy Summer Sessions)
Last summer, in picturesque Falkenberg, Sweden, Rootsy Music held Summer Fest ’23, a gathering of twenty-some Americana, country, folk, and roots bands – many imported all the way from the United States. BGS video collaborators and contributors I Know We Should were there; they curated, directed, and shot a series of gorgeous live performances in and around the festival and scenic Falkenberg.
The first in the series features Israel Nash – a Rootsy artist, as well as a frequenter of Rootsy stages and festivals – performing an original song, “Lost in America.”
In Their Words: “Friendships are often forged on some highway to nowhere. We left Pappy & Harriet’s, said goodbye to our wives, and drove across the country chasing the rookie leagues…” – Corey Adams
Artist: Mary Bragg Hometown: Nashville, Tennessee Song: “Only So Much You Can Do” Release Date: January 23, 2024
In Their Words: “‘Only So Much You Can Do’ is about chasing joy in the company of another person. I’ve been thinking a lot lately about that New York Times article about the secret to happiness – and how relationships are the key to it. We are pack people; we need each other; we need other human beings around us in order to be our best, happiest selves. Friends plus community plus honesty equals joy…” – Mary Bragg
Stripping away convention, honing in on narrative, and keeping complex melodies afloat with her ethereal vocals, Sarah Jarosz is a superlative presence in the roots music landscape. The daughter of two schoolteachers hailing from Wimberley, Texas, she began learning to play the mandolin at age 9. By the time she turned 12, Sarah was already gracing stages alongside the likes of musical giants David Grisman and Ricky Skaggs.
Her multi-instrumentalist capabilities and songwriting proficiency only grew from there; at the age of 16, Jarosz signed a deal with Sugar Hill Records and released her first album, Song Up in Her Head, in 2009. This critically acclaimed record would be the first of what now surmounts to seven full-length, tremendously lauded projects. Polaroid Lovers, Jarosz’s latest and the muse of her current tour, is set to be released on January 26, 2024.
Over the span of nearly two decades spent recording and touring, Sarah Jarosz has established herself as a foundational thread in the tapestry of modern roots music. From impeccable collaborations (with Punch Brothers, David Grisman, Sierra Ferrell), to forming a supergroup alongside Aoife O’Donovan and Sarah Watkins (I’m With Her), to a whopping 5 hours and 45 minutes of music published under her name, Jarosz stands firmly in her power. As she forges ahead, she only continues to outdo herself.
While her entire catalog is sure to edify any listener, this compilation showcases some of Jarosz’s most essential tracks. Tracing the arc of her musicianship from adolescence to adulthood, the following 17 songs demonstrate the particular sonic maturity, lyrical astuteness, and emotional evocation that span all she creates.
“Mansinneedof”
From Jarosz’s first album, Song Up in Her Head, this indelible instrumental boldly answers the question, “Can a mandolin be a lead instrument?” with a resounding, “Of course!” The first of many Grammy nominations acquired throughout her career, this tune was considered for Best Country Instrumental in 2009. Impossibly advanced beyond her years, Jarosz’s nimble and articulate melody is akin to a sonic coast through star-studded galaxies.
“Come On Up To The House”
In a clear demonstration of the range of her musical influences, the most-streamed song from Sarah’s inaugural album is a cover of Tom Waits’s “Come On Up To The House.” Her cool, slippery voice lends a new angle to the iconic tune. Paired with astute backing vocals from Tim O’Brien and a slick fiddle solo by Alex Hargreaves, this song grooves right along – an ingenious, albeit unlikely, bluegrass cover.
“Annabelle Lee”
Jarosz’s sophomore album, Follow Me Down, is latent with a mystical quality that reaches towards the ethers, shepherded into expansiveness by a creative spectrum of influences. The third track, “Annabelle Lee,” features lyrics adapted from the illustrious Edgar Allen Poe poem of the same name. Jarosz sets the eerie tale against a conglomerate of haunting textures – the heightened pace and drums evoke a sense of urgency while Jerry Douglas makes his lap steel wail, a somber cello moans, and Dan Tyminski’s backing vocals lend fullness to the ravenous depths of this dark tune. It is also worth noting that Jarosz performed and recorded this tune, very fittingly filmed in an old hunting lodge in the Scottish Highlands, for the Transatlantic Sessions in 2011. (Watch above.)
“The Tourist”
Sarah sure knows how to pick a cover. From Prince to the Decemberists to Joanna Newsom, she can masterfully braid her grace and artistry into anything. “The Tourist” offers Jarosz’s take on Radiohead, an influence cited among many of Jarosz’s contemporaries, including Madison Cunningham and Chris Thile. In fact, Punch Brothers provide the musical backdrop on this track, their syncopated rhythms and blustery fills meeting Jarosz and Thile’s airtight harmonies to create a sense of whirling, palpable, delicate angst.
“Build Me Up From Bones”
Off of her Grammy-nominated third album, this titular track received an additional nom for Best American Roots Song of 2014. This song is SJ’s most popular of all time, having racked up a total of 70.7M streams on Spotify. Here, Jarosz’s songwriting forges into new territory; her lyrics are both poetic and measured, imbued with textures of velvety longing. The form matches the content, from Aoife O’Donovan’s dewy harmonies to the pizzicato string section to the gorgeous cello solo. Effectively, listeners are bathed in a most intimate listening experience that beckons infinite re-listens.
“1,000 Things”
In another track off of Build Me Up From Bones, here SJ shares songwriting credits with the legendary Darrell Scott. The result? Pure synastry. Underscored by pulsating Celtic rhythms, this uptempo earworm says 1,000 things despite its brevity.
“House of Mercy”
This tune, along with the album carrying it – Undercurrent – won Sarah her first two Grammys in one night. “House of Mercy” was crowned Best American Roots Performance of 2017, and it was indubitably worthy. Jarosz shares songwriting credits with Australian singer-songwriter Jedd Hughes, and together they achieve a dark story arc as the encumbered narrator addresses an unwanted visitor. Jarosz opens up her sound into cutting, fierce Americana twang – effectively offering audiences a new layer to her multitudes of sound.
“Jacqueline”
The closing track of Undercurrent is stark, honest, and bewildering. The song is named after the Jacqueline Kennedy Onassis Reservoir in New York City where Jarosz, who once lived nearby, would often do her pondering. Accompanied solely by an electric guitar, Jarosz’s voice is agile and glimmering as liquid silver. She muses over the reflective surface and projected companion while disclosing her own state of unease, immersing listeners in an intimate, unyielding pensiveness.
“Your Water” (with Parker Millsap)
The first of a two-single release titled the Luck Mansion Sessions (2017), SJ here collaborates with fellow singer-songwriter and multi-instrumentalist Parker Millsap. The track, written and originally released by Millsap, is delivered as a duet. The groove opens up into a soul-type feel, allowing for Sarah to showcase a more raw, bluesy, unmeasured latitude of her voice.
“See You Around”
“See You Around” is the title track off of supergroup I’m With Her’s first and – to every listener’s chagrin – only full-length album. In 2018, Jarosz linked up with two of the most astounding women in roots music, Aoife O’Donovan and Sara Watkins, to form a trio of unadulterated excellence (it should be noted that that group won Americana Music Association’s Music Duo/Group of the Year). The album waffles between the three songwriters’ contributions, with each vocalist singing lead on an approximately even number of tracks. “See You Around” is driven by Jarosz’s signature poetic lyrics and fluttery melody, elevated to new horizons by the pristine, angelic blend of harmonies from Watkins and O’Donovan. The musical chemistry these women share evokes the divine; every single song on this album delivers listeners into the sublime.
“Johnny”
For her also Grammy-winning fifth studio album, World on the Ground (2020), Sarah Jarosz invites listeners to experience an array of vignettes; her songs on this album, more than ever, become vehicles for potent storytelling.“Johnny” is the second of three tracks on the album named, presumably, for a character the song aims to illustrate. Jarosz has said that during this album, she “[Tried] to take a step back and look out at the world in my songwriting, rather than looking inward,” and spent much time constructing the album as a patchwork of memories from her hometown in Texas, both faithful and fictionalized.
“Johnny” conveys the psychological landscape of a slightly drunk, slightly disillusioned man who is “just waitin’ on the stars/ that will never align.” It’s all slightly devastating, yet the melody latches onto an unforgettable earworm of a hook uplifted by its folk-pop flavor. Jarosz incorporates a strings section alongside drums, electric guitar, and mandolin, seamlessly using the nuances of sound to bolster the complex mundanities of Johnny’s life.
“Pay It No Mind”
Jarosz shares the songwriting credits on “Pay It No Mind” (also off of World on the Ground) with the renowned John Leventhal, who also produced the album and plays a slew of instruments sprinkled throughout. The song begins with just Sarah and a pensive guitar riff, musing upon a bird and her ponderings. The song then builds in dynamics, layering percussion and eventually a full orchestration of instruments and vocals. It’s slick, it’s sly, and it looks at the world with a cool sense of distance.
“I Still Haven’t Found What I’m Looking For” / “my future”
In the midst of quarantine, Sarah Jarosz committed to staying connected with fans by using Garageband and her home microphone to record one cover each week from July to October of 2020. In January 2021, she released two of the covers, U2’s “I Still Haven’t Found What I’m Looking For” and Billie Eilish’s “my future,” on streaming services. These barebones covers are a time capsule of a moment drenched in emotion, isolation, and fear. Catharsis swells through the minimalistic recordings – Jarosz cradles her whole soul into these songs, and the results are absolutely astounding.
“Mama”
For her sixth full-length studio album, Blue Heron Suite (2021), Sarah Jarosz released a song cycle that she first premiered at Freshgrass in 2017, whereupon she was awarded with the Freshgrass Composition Commission. At the time, Sarah was reckoning with her mother’s cancer diagnosis and reflecting upon childhood trips to the town of Port Aransas, Texas, which at that time had recently been severely affected by Hurricane Harvey. Named for the Great Blue Herons she and her mother used to observe along the town’s shore, this album is imbued with love and hope in its deepest forms. “Mama,” the opening track, is an utterly gorgeous, pared-down arrangement of voice and guitar – a most gentle and tender ode to Jarosz’s mother, who is thankfully now in remission.
“For Free” (with David Crosby)
An astonishing songwriter and pioneer of three-part harmony in American roots/folk music as we know it, David Crosby was a long time supporter of Sarah Jarosz’s work up until his passing last January. Sarah graced the title track of Crosby’s final full-length solo album, For Free (2021). The two sing the entirety of this Joni Mitchell cover in tight harmony, their voices mirroring one another perfectly. The pared back solo piano accompaniment highlights the duo’s vocal finesse; every riff is intertwined with precision and elegance.
“Jealous Moon”
“Jealous Moon” was the first of four singles SJ released from her upcoming album, Polaroid Lovers (out this Friday). Co-written alongside Daniel Tashian, the record’s producer, Sarah remarks of the song, “I’m always seeking to push myself into new sonic territory, and this song gave me permission to not hold back.” In this track, she boldly steps away from her traditional acoustic tethers and moves towards a more pop-rock-twang fusion. Jarosz successfully elicits a sense of novelty while still embodying the sense of fullness and depth she puts into all she creates – reminding us that we still have yet to see the full bloom of her artistry.
Thirty years ago, Rosanne Cash experienced an all-encompassing transformation. She had just left Nashville, her major label record deal and her marriage. She was living in New York and found herself falling in love with her producer, the guitarist John Leventhal. Her previous album Interiors had set the stage for the new Rosanne. With her landmark album, The Wheel, Cash and Leventhal came together to work on a brand new sound for the artist, who had a well established career in mainstream country along with multiple #1 radio hits. She blew it all up for love! Cash had been unhappy and was yearning to live a life of authenticity in her music and her personal life. Three decades later, she’s reissued The Wheel and is ready to TALK ABOUT IT.
In our conversation, Rosanne addresses the inner critic and how she’s come to harness its power for good in the editing process. She took a painting class, where she painted a picture of her inner critic and has never looked back. After her divorce, she struggled with motherhood: being a good mom and trying not to ruin her kids’ lives. She looks back now with regrets and guilt as most mothers do. Her saving grace is that she was not a normal mom. Her oldest daughter assures her that she would not want a normal mom. We also talk about John’s upcoming solo debut album and why the two have established their own record label. Rosanne Cash is a treasure and I very much appreciated this deep dive into such a pivotal moment in her career and life!
Earlier this week renowned guitarist, producer, and engineer John Leventhal announced his debut album, Rumble Strip, to be released on RumbleStrip Records, a label founded with his wife and collaborator Rosanne Cash that will be distributed by Thirty Tigers. Yes, you read that right, a man known for his nearly 50-year, multi-hyphenate career in roots music is releasing his first ever proper solo album. Leventhal made the announcement with the release of two tracks, an instrumental guitar piece entitled “JL’s Hymn No. 2” and a gritty, rockin’ Americana duet with Cash called “That’s All I Know About Arkansas.”
“JL’s Hymn No. 2” showcases the guitar prowess that has made Leventhal such an in-demand sideman and session player across his entire career. On both of these tracks, his playing reminds of such country and roots renaissance men as Marty Stuart, Buddy Miller, David Bromberg, and Larry Williams with each of his constituent musical skills – as engineer, producer, and picker – on full display. “That’s All I Know About Arkansas” is like a post-modern “brother” duet, with Cash stepping into the role of Buddy’s Julie Miller, or Larry’s Theresa Williams, bolstering and supporting her musical- and life-partner in a touching and artistically successful role reversal for the pair. You can hear the passion they have for each other’s music, for each being members of each other’s “bands.”
With a resume and career as exhaustive and expansive as Leventhal’s, it’s remarkable that he’s only reached this pivotal, “debut” milestone at this late-stage point. And, more remarkable still, is that Rumble Strip is clearly another opportunity for Leventhal to challenge himself, break new ground, experiment with new sounds and textures, and continue to grow, morph, and develop as a quintessential musician-producer. It’s engaging and exciting to hear him turn his studio control room magnifying glass onto his own music, his own record.
Rumble Strip will be released on January 26. Enjoy these two tracks from the project now, right here on BGS.
Artist: Rosanne Cash Hometown: Born in Memphis, Tennessee; Now lives in New York City, New York Song: “The Truth About You” Album: The Wheel 30th Anniversary Deluxe Reissue Release Date: October 26, 2023 (video); November 17, 2023 (reissue) Label: RumbleStrip Records
In Their Words: “I was turned inside out when I wrote these lyrics. I was full of so much longing that I thought I would drown in it. I was also trying to come to terms with the idea that I might not get what I wanted. It was a deeply melancholy moment, but it had the light of possibility. I gave the lyrics to John, like a supplication in code, and he wrote the music. That was a good sign.” – Rosanne Cash
AmericanaFest is HERE! The annual festival, business conference and roots-music extravaganza will once again take over Nashville beginning today, September 19, through Saturday, September 23. While of course we’re most looking forward to our event presented with Queerfest, the Good Ol’ Queer Country Jamboree, on Saturday from 3 p.m. to 6 p.m., the entire week is filled to the brim with must-see, must-hear, must-do events, panels, showcases, parties and hangs.
As we do most years, below we lay out a variety of items starred by BGS staff on our AmericanaFest apps – which, BTW, is a festival and conference essential. You can add performances, panels, and keynotes to your own personalized scheduled complete with lineups, panel rosters, details and more. Plus, you’ll be able to easily see which events require special tickets or advance RSVP directly in the app and which are accessible with your conference badge or festival wristband. Download the official app on the app store here. Download via Google Play here.See the full AmericanaFest daily schedule in your browser here.
We want to hear from you, too! Which AmericanaFest events and shows are you most excited for? Which of the more than 200 showcasing bands and artists are at the top of your lists?
Panels, Parties,& Events
Check-in and pass pick-up begin today, Tuesday, September 19, at 12 noon at the Westin Nashville in the Gulch, but most panels and conference programming gets rolling tomorrow, on Wednesday. If you thought ahead, you already RSVP-ed to the Country Music Hall of Fame & Museum’s conversation and performance by two of our faves, Rosanne Cash and John Leventhal, this afternoon at 3 p.m. They’ll chat about their careers plus the 30th Anniversary re-issue of The Wheel – hear a track from that project on BGS here.
There are quite a few more conversations, panels and events we’re eyeing this week around Nashville:
Roots & Branches – Kentucky Music – WED. SEPT. 20 10:00 AM @ The Westin Vanderbilt III
Kentucky poet laureate Silas House – who recently wrote the story behind Tyler Childers’ sensational new music video – will chat with fellow Kentuckians and musicians S.G. Goodman, Kelsey Waldon and Nat Myers about “the history, legacy and current state of Kentucky’s music and the way it has helped to shape American music…” The bluegrass state means more to American roots music than just bluegrass and these folks know it. An enlightening conversation is sure to be had.
Where the Action Is: Americana Artists and Activism – WED. SEPT. 20 11:00 AM @ the Country Music Hall of Fame & Museum Ford Theater *RSVP REQUIRED*
Moderated by veteran BGS contributor Jewly Hight and hosted by the Country Music Hall of Fame, this conversation will feature performances by Adeem the Artist, Mya Byrne, Autumn Nicholas and Allison Russell, all artists who leverage their music making in Americana spaces to advance activist causes, social justice and representation and inclusion. The event promises to connect the present and each of these artists to this vibrant tradition in roots music and folk.
Hillbillies and Hot Dogs – WED. SEPT. 20 11:30 AM to 2:00 PM @ Compass Records *RSVP REQUIRED*
Our friends at Compass Records and No Depression host one of the best hoedowns every year at AmericanaFest, replete with hot dogs and the recording studio that birthed the Outlaw movement. Hear music by Robbie Fulks, Kelly Hunt, Mattie Schell and the business queen of banjo herself, Alison Brown.
NMAAM Songwriters Rounds – WED., THURS., FRI. SEPT 20, 21, 22 12:00 PM to 1:00 PM @ National Museum of African American Music
A music conference and festival in Nashville is the perfect time to visit the National Museum of African American Music, which opened during the pandemic and has slowly but surely built momentum and an audience for the history, culture, and tastemaking of African American music. And situated right in the heart of Nashville’s lower Broadway neighborhood, it’s the perfect venue to make such points. NMAAM’s daily writers rounds will feature artists and songwriters like AHI, guitar phenoms Joy Clark and Yasmin Williams, BGS One to Watch Julie Williams and more.
An Intimate Conversation with Nickel Creek & Sarah Silverman – WED. SEPT 20 1:00 PM @ RCA Studio A *RSVP Required*
You read that right! Nickel Creek and Sarah Silverman in conversation at RCA Studio A moderated by Jewly Hight!? Pinch us! Clearly one event not to miss this week. RSVP is required, hope yours has been submitted long ago!
Indigenous Americana – WED. SEPT 20 4:oo PM @ the Westin SoBro I & II
You are still on stolen land. While you occupy the historic lands of the Cherokee, Shawnee and Yuchi this week, set aside time to appreciate, ingest and center Indigenous music makers, their songs and their stories. This panel conversation on the future of the thriving Indigenous music community will feature Amanda Rheaume, Crystal Shawanda, Nicole Auger of the Indigenous Music Summit and Trenton Wheeler. More events for/about Indigenous music below.
Kentucky Bluegrass, Past and Future – THURS. SEPT. 21 2:30 PM @ the Westin Gulch I & II
From our friends at the Bluegrass Music Hall of Fame & Museum in Owensboro, a conversation about the arc of bluegrass in the bluegrass state featuring BGS contributor Craig Havighurst, Bluegrass Hall director Chris Joslin, fiddler Jason Carter, the legendary Sam Bush, educator and picker Scott Napier, and Jessica Blankenship of the Kentucky Music Hall of Fame.
Who Are the Gatekeepers of Americana Anyway? – THURS. SEPT. 21 4:00 PM @ the Westin Gulch I & II
If your immediate reaction to this panel title is skepticism, this is definitely for you! The roster of Omar Ruiz-Lopez (of Violet Bell), Rissi Palmer and Yasmin Williams immediately indicate this conversation will critically unpack and explore the construction of Americana as a format, just how multi-cultural the music really is, and why that strength is worth spotlighting while we dismantle systems of gatekeeping and exclusion.
Transgender Artists Arriving and Breaking Through in Americana – FRI. SEPT. 22 1:00 PM @ the Westin Gulch I & II
Just a few short years ago there were almost no LGBTQ+ spaces at AmericanaFest, so we’re ecstatic to see a trans-specific space like this opened up at the conference. Hear from Ally Free, Cidny Bullens, Mya Byrne, Paisley Fields and moderator Marcus K. Dowling on historic and current challenges and opportunities for trans, non-binary and gender non-conforming Americana musicians.
From ‘Queer Jolene’ to ‘Pay Gap’: Teaching Social Issues Through Americana in the Classroom – FRI. SEPT. 22 3:30 PM the Westin Gulch III
Using two songs as a springboard, scholar-musician Nadine Hubbs and showcasing artist Beth Bombara will be joined by Aimee Zoeller, Ethan Anderson, and renowned writer/thinker Tressie McMillan Cottom to discuss the use of Americana music and texts to teach and highlight current issues of race, class, gender, sexuality and identity in university and college classrooms and academic spaces.
Americana Honors & Awards
Keb’ Mo’ attends the 20th Annual Americana Honors & Awards in Nashville, Tennessee. (Photo by Erika Goldring/Getty Images for Americana Music Association)
The marquee event of the week, the 22nd Annual Americana Honors & Awards will take place on Wednesday evening beginning at 6:30 p.m. See the full list of honorees and nominees here. The awards show promises appearances and performances by so many Americana friends and neighbors: Adeem the Artist, Allison Russell, Brandy Clark, Jessi Colter, Marty Stuart, Nickel Creek, William Prince, Sunny War and many, many more. Recipients of this year’s Lifetime, Trailblazer and Legacy Awards include The Avett Brothers, George Fontaine Sr., Bettye LaVette, Patty Griffin and Nickel Creek.
Good Ol’ Queer Country Jamboree at Soho House Nashville
A rare opportunity to utilize the gorgeous facilities of Soho House Nashville at this members-only and conference passholders-only event! Plus, enjoy the absolute best in queer country being made today as we celebrate the announcement of BGS’s new outlet, Good Country, coming in 2024! Space is limited, so make sure your RSVP is in for the Good Ol’ Queer Country Jamboree featuring music by Adeem the Artist, Jett Holden, Amanda Fields & Megan McCormick, Chris Housman and special guests.
The Good Ol’ Queer Country Jamboree Featuring Adeem the Artist, Amanda Fields & Megan McCormick, Jett Holden, Chris Housman, and more. Saturday, September 23, 3 p.m. – 6 p.m. Soho House Nashville
Showcases, Artists & Bands
Here are just a handful of the showcases, lineups, artists and bands we’ve got our eye on this week:
Americana Proud: A Voice for All – TUE. SEPT. 19 8:00 PM & 9:30 PM @ the City Winery
Hosted by singer-songwriter Autumn Nicholas and Nashville-based drag queen Vidalia Anne Gentry, Americana Proud will bring two showtimes of their highly-anticipated showcase to the City Winery on Tuesday evening, the first at 8 p.m. and another immediately following at 9:30 p.m. Hear from artists and musicians such as ISMAY, Jobi Riccio, Kentucky Gentlemen, Palmyra and many more.
Bourbon & Bluegrass – FRI. SEPT. 22 4:oo PM to 6:30 PM @ the Vinyl Lounge
Join us and our friends from Visit Owensboro and LogStill Distillery for one of our most favorite pairings, bourbon and bluegrass presented by BGS! Fresh off of our rollicking time in Kentucky at Bourbon & Beyond, we’ve still got a hankering for whiskey and tunes – this time from Mama Said String Band and the Owensboro Bluegrass Band. Join us Friday afternoon at the Vinyl Lounge in Wedgewood Houston!
Willi Carlisle
We can’t get enough of this lonesome troubadour’s poetic, old-timey country. He’s in and out of Nashville quick this week, so catch Willi Carlisle’s official showcase at the Vinyl Lounge on Thursday, Sept. 21 at 8:00 p.m. (Read our most recent feature on Carlisle here.) Now THAT’S good country!
Michael Cleveland & Flamekeeper
Fiddler Michael Cleveland burnt down our BGS Stage at Bourbon & Beyond last weekend when he brought on his friend and ours, Billy Strings, as a surprise guest. Later that evening during Strings’ main stage set, he brought Michael out in front of 40,000 roaring fans. We LOVED that moment – don’t miss his official showcase with his band, Flamekeeper, at Analog at the Hutton Hotel on Thursday, Sept. 21 at 9 p.m.
Jessi Colter
This legend of country has a new, Margo Price-produced album, Edge of Forever, out on October 27, so it’s the perfect week to check her off your live performance bucket list. Colter will have an official showcase at 3rd & Lindsley on Wednesday, Sept. 20 at 10 p.m., plus she appears as part of Mojo’s Music City Mayhem on Thursday, Sept. 21 between 3 and 6 p.m. Also some good country.
Della Mae
We’ve been keeping up with Della Mae lately – from Earl Scruggs Music Festival to Bourbon & Beyond to AmericanaFest! – and we’ve loved every second. If you haven’t heard their new four-person lineup, it’s worth checking out this week. If you’re not in Nashville at the conference, stream their newly released Neil Young cover instead. (Below!)
Liv Greene
AmericanaFest is all about discovery and if you haven’t discovered this singer-songwriter yet, this week is your chance. Hear Greene’s award winning songwriting – which is equally winsome and pining while gritty and bluegrassy – on three different occasions throughout the week: Tuesday, Sept. 19, 8 p.m. at Americana Proud at City Winery; their official showcase on Thursday, Sept. 21 at 10 p.m. at the City Winery Lounge; and during the Tribute to the Songs of 1973 Part 3 on Friday, Sept. 22 at 10 p.m.
Jaimee Harris
You know what Jaimee Harris’s music is? Good country! It’s all over this AmericanaFest lineup, for sure. Harris will have your heart firmly in hand with her grounded, earnest and effacing nostalgia. It feels so country and effortlessly Americana, but with endless queer, subversive wrinkles. Get acquainted with Harris and her latest album, Boomerang Town, at several different performances during the week: Tuesday, Sept. 19, 8 p.m. at Americana Proud at City Winery; Thursday, Sept. 21, 4:30 p.m. at the Lone Star Shindig at the Bobby Hotel; Friday, Sept. 22, 1:20 p.m. at Bowery Vault for SHC East Coast Social Club; her official showcase on Friday, Sept. 22, 8 p.m. at the City Winery Lounge; Friday Sept. 22, 11 p.m. at the Basement East for A Tribute to the Songs of 1973; and Saturday, Sept. 23 at Dee’s Country Cocktail Lounge at 1 p.m.
Lola Kirke
All of Lola Kirke’s exes live in LA, so luckily she’s in Nashville this week! Kirke was a highlight of our BGS Stage last week at Bourbon & Beyond in Louisville before heading to AmericanaFest, where you can see her at SiriusXM Outlaw’s Americana Most Wanted guitar pull on Thursday, Sept. 21 at 12 p.m.; also see her official showcase at the Blue Room on Thursday, Sept. 21 at 10 p.m.; and at Imogene + Willie’s Round Up – a free, unofficial, buzzworthy event certainly worth a drop-by at least – on Friday, Sept. 22 at 7:15 p.m.
Native Guitars Tour – Voices of Native Americana – THURS. SEPT. 21 12:00 PM to 4:00 PM @ The Blue Room
Native leaders in music, art and fashion will bring authentic songs and stories to the Blue Room at Third Man Records on Thursday afternoon. Hear from Dach Martin, Jir Anderson, Levi Platero Band, Mike Bruno & the Myriad Mountains, Mozart Gabriel, Olivia Komahcheet, Rico Del Oro, Sage Bond and Scotti Clifford. From Native blues to crooning country and everything in between.
Emily Nenni
Get your boot scootin’ in while you’re in Nashville with honky-tonker Emily Nenni, whose country & western picked up a few tricks and twists in California’s Bay Area before landing in Music City. Nenni will jam a handful of Nashville shows into a packed tour week that takes her away from and back to AmericanaFest in the blink of an eye. Hear her at Honky Tonk Tuesday at the American Legion in East Nashville on Tuesday, Sept. 19; plus an appearance at Musician’s Corner at Centennial Park on Friday, Sept. 22 at 4:35 p.m.; and her official showcase at Eastside Bowl on Saturday, Sept. 23 at 10:30 p.m.
Autumn Nicholas
Nicholas has already appeared on this preview in a few places, and rightly so, as the North Carolinian Black Opry alumnus continues to build momentum behind their stratospheric voice and introspective, emotive songs. Hear the voice Nashville has been buzzing about for months – and that will open for Jason Isbell at the Ryman this fall – throughout the week: Tuesday, Sept. 19 at Americana Proud at City Winery, 8 p.m. and 9:30 p.m. shows; “Where the Action Is” panel at the Country Music Hall of Fame on Wednesday, Sept. 20 at 11 a.m.; and their official showcase at the Basement on Friday, Sept. 22 at 8 p.m.
Queer Cowpoke Roundup – SAT. SEPT. 23 2:00 PM to 5:00 PM @ the Groove
On your way to/from the Good Ol’ Queer Country Jamboree at Soho House on Saturday, stop by the Groove record shop in East Nashville for another LGBTQ+ centered event, the Queer Cowpoke Roundup! With music by Austin Lucas, Julian Talamantez Brolaski, Julie Nolen, Melody Walker, Mercy Bell, Secret Emchy Society, Shawna Virago and Wiley Gaby plus a special tribute to the legacy of Lavender Country and Patrick Haggerty to kick it all off.
Jobi Riccio
We are sweet on Jobi Riccio’s new album, Whiplash, a showcase of powerful, talented songwriting done up in checkered gingham and starchy denim and the perfume of broken in leather. We’ve had our eye on Riccio for a few years now, so it feels gratifying to watch the music industry discover and get behind the Berklee graduate. Hear Riccio perform during the Americana Honors & Awards on Wednesday night, but also elsewhere during AmericanaFest: Tuesday, Sept. 19 at Americana Proud at City Winery at 9:30 p.m.; Thursday, Sept. 21 at WMOT Day Stage at Eastside Bowl at 4 p.m.; and her official showcase will be at Exit/In on Thursday, Sept. 21 at 8 p.m. (Plus, Riccio’s social media tease a “to be announced” appearance on Friday, September 22, so keep your eyes peeled.)
The Shindellas
Americana is all about making music outside the lines, about exploring the rootsy fringes of these genres we all hold dear. The Shindellas are one of the most exciting groups to come out of Nashville in recent memory, but because of their glitz, polish and crisp production values they’re rarely categorized as Americana – which they certainly can lay claim to, through blues, R&B, soul and so much more. Their new Louis York-produced album, Shindo, drops in October, so make sure you catch them this week on Saturday. You’ll be glad you did! See the Shindellas at the 11th Annual Thirty Tigers Gospel Brunch at the City Winery, Saturday, Sept. 23 11:00 a.m. to 1:00 p.m.; and their official showcase at the Basement East on Saturday, Sept. 23 at 7 p.m..
Dan Tyminski
The man, the legend, he needs no introduction to the BGS reader (except, perhaps, when introduced as his mononym, Tyminski). Hear Dan fresh off his Bourbon & Beyond appearance on the BGS Stage with his new bluegrass band lineup, who are certainly worth a listen, at their official showcase on Thursday, Sept. 21 at 10 p.m. at the Analog at the Hutton Hotel. This new lineup of pickers backing up the famed voice of George Clooney on O Brother, Where Art Thou? are one of the most exciting things to come from Tyminski, musically, in the last handful of decades.
YasminWilliams
If you’ve never seen Yasmin Williams play guitar, prepare to have your mind blown. Her approach to the instrument doesn’t just wow her audiences, it wows her fellow guitarists as well, from Bryan Sutton to Tommy Emmanuel. We’ve been fans of Williams for more than a few years, since before her Shout & Shine appearance even, and we’re glad to catch her again this week at AmericanaFest: “Wide Open Spaces – The Rise of Ambient Americana” Panel, Thursday, Sept. 21, 1 p.m. at the Westin Gulch I & II; “Who are the Gatekeepers of Americana Anyway” Panel, Thursday, Sept. 21, at 4 p.m., the Westin Gulch I & II; NMAAM Songwriters Round Friday, Sept. 22 at 12 p.m.; and her official showcase Thursday, Sept. 21 at the Blue Room at 9 p.m.
Poster graphic and photo of Keb’ Mo’ courtesy of the Americana Music Association.
Lead images: Yasmin Williams by Kim Atkins Photography; Amanda Fields & Megan McCormick by Lindsey Patkos; Adeem the Artist by Shawn Poynter; Michael Cleveland by Amy Richmond.
Artist:Rosanne Cash Hometown: Born in Memphis, TN; Now lives in New York City Song: “The Wheel” (Remaster) & “The Wheel” Live at Austin City Limits (1993) Album:The Wheel 30th Anniversary Deluxe Edition Release Date: November 17, 2023 Label: RumbleStrip Records
In Their Words: “The Wheel was a seminal record for both me and John [Leventhal]. I seldom like looking back, or indulging in nostalgia, as present and future work is still so exciting for both of us, but this record was — and is now, in its re-mastered version, with the new photos, new liner notes, and added live performance disc — a cherished moment in our careers, and our personal lives. We have been partners in life and work since we created it. Every step along the way, we’ve reinvented The Wheel, and with this re-release, we’re proud to say, ‘This record opened a new road. Our lives changed because of this album. This is a moment to remember.'” – Rosanne Cash
Heartbreak songs, political takedowns, pronunciations of judgment — on his 18th album, Triage, Rodney Crowell doesn’t indulge much in any of them, with the possible exception of judging his own foibles as he burrows deep into his psyche, hoping to extract whatever nuggets of wisdom might still be buried there.
To help in the trenches, he enlisted son-in-law Dan Knobler, a rising talent who produced one of Crowell’s current favorite albums: Allison Russell’s Outside Child. “I respect him, and I learn from him,” Crowell says. “I learn from young people around me. You kiddin’? They’re on to things that I’m not on to, and they have information that I need.”
Knobler’s not the only family tie: another young artist, Jakob Leventhal, sings backing vocals on “Hymn #43,” a track that also contains contributions from his parents, John Leventhal and Rosanne Cash — Crowell’s ex-wife and mother of Knobler’s wife, Carrie. And though it’s “aimed more at the universal than the personal,” there is an homage to Joe Henry, who produced three Crowell albums: Sex & Gasoline, Kin: Songs by Mary Karr & Rodney Crowell, and The Traveling Kind, his second collection of duets with Emmylou Harris.
“I have a deep abiding love for Joe,” Crowell says. “I wrote the song ‘Triage’ for and to Joe, because the conversations we had when he was in the darkest part of coming to grips with a pretty shocking [cancer] diagnosis, his vulnerability and his courage and willingness to embrace everything about it inspired me, and I wanted to make a song based on the inspiration that I got from Joe’s courage and truthfulness.”
Courage and truthfulness. Those qualities permeate the entire album; in fact, it’s safe to say they’ve guided Crowell’s entire career.
BGS: Reviews are saying Triage is one of your most personal albums, and you referred to making amends in an NPR interview. But I suspect your use of “triage” has more to do with the global state of affairs than the need to address any personal sort of emergency at this stage of your life. Is that a reasonable assumption?
Crowell: Yeah, that’s most reasonable. I think the conversation with NPR started with the opening song [“Don’t Leave Me Now”], which is basically an attempt at amends, and it went from there. But the broader stroke on the album, and in my contemplation as I was writing the song, was how do I weigh in without dating myself? If you go political, or if you go topical in the moment, six months from now … you know, unless you write “Blowin’ in the Wind” or “This Land is Your Land,” you’re not timeless.
So my overview is that I want to write about, say, climate change, and I want to write about a monotheistic approach to livin’ my life, and instead of writing about boy/girl love, to write about a higher love — as Steve Winwood sang, “Bring me a higher love.” That’s what I had in mind, so I spent a lot of time revising all of the songs, checking and double-checking to make sure that I was grounding the language, because I was reaching into that place that’s very hard to define.
And yet, you do go topical on “It’s All About Love,” referring to Greta Thunberg and others, in that kind of talking-blues list style that you do so well. You often throw in pop-cultural references; how do you choose what works?
Well, when COVID happened, I got to slow down a bit and not try to race to make a release date, which allowed me to go back through the songs … you know the old saying, “Show, don’t tell”? I was able to go back through and say, “Oh, here I’m telling. I need to bounce this out of here,” and to stay in the show part of it, which is whatever metaphorical angle you take or however you ground the language in such a way that you can’t be accused of thinking you know better than everybody else.
It’s tongue in cheek for me to stick Donald Trump and Vladimir Putin and Greta Thunberg and Jessica Biel and the devil all in one stanza; honestly, I’m giggling to myself. They might not get it; they may take me literally, but this is humor.
You touch on religion repeatedly, and at one point in “I’m All About Love,” you chant the names of the lord, so to speak, so the sense is acceptance. Yet you mentioned monotheistic love, and the notion that there is one particular God seems to be expressed here, regardless of which one.
My mother was quite religious in the Pentecostal, speaking-in-tongues, emotional religious paradigm, and even as a child, it didn’t serve me. I just sensed something was amiss with it. I’ve always felt that way. Religion, I mistrust; the creator of it all, I do trust. Whether that creator of it all is a team, or whatever that is, I don’t really know. But I feel it. And hopefully, as I’m writing the songs and exploring that, I’m not saying that I really know, because I don’t. I can’t tell you anything about your god, and I really can’t tell you a lot about mine. But I sure do have a feeling.
When you’re writing songs, in some cases, you must have specific people or incidents in mind. But you also want to get them to the point where they have that universal feeling, where the listener can relate it to something in their own life. How do you strike that balance of not revealing too much about what’s going on in your life, while alluding to enough of it that it does personalize the lyric and make it touching?
I learned a long time ago, if it’s coming from my own experience, there’s a good chance I’m a step closer to true. And I can mine my personal truth, but confessional only goes so far. I’ve tried to walk that line; if I can carefully write about my own experience and put it in a broader perspective, then [for] the listener, it becomes their experience. It’s no longer my experience. That’s why I feel like I have to be really careful; if I make it too much about my experience, then I start to tread on the listener’s experience. The goal is to get it in such a way where — and there again, it’s the “show, don’t tell” — if it’s show, you show somebody their emotion, their experience. If you tell, you’re tellin’ ’em about you. And down there somewhere in the gravel of it all, I’m telling you about me.
But you’re actually not revealing that much, even though it comes across that way. I can’t listen to this and guess what’s happening in your life, even though I can sense what has happened, possibly.
Well, there you go. If that’s your experience, then I’ve succeeded, because I don’t want [the song] to be about me. I want it to be about it.
Other songs here, like “One Little Bird” and “Girl on the Street,” seem to be written for your children, or specific children. Am I close?
Yeah, you are, in a way. “Girl on the Street,” it’s something that happened in San Francisco. I met a girl and … however she could get money off me for drugs, she was willing to go there. And she was young and beautiful and reminded me of my own children. That was why the regret that the narrator has in the song is like, “I could have done more.” I could have bought her a room for the night where she could get a shower and a good night’s sleep. Or I could have taken her and bought her something to eat and sent her on her way, but no; I gave her 45 cents. So I really failed as an adult on the street. And that’s what I hope the song says.
Regarding amends, who in your life do you feel you haven’t apologized to that you still need to?
I’ve apologized to everybody that needs to be apologized to. But that doesn’t mean everybody accepted. And I have to live with that. If you look closely, in “One Little Bird,” it’s in there. I’ve been rebuffed.
You hit that one high note in “One Little Bird,” that falsetto, that I don’t think I’ve heard you do before. It’s evident that there’s definitely some change in your vocal style; that it’s actually expanding with age, which is interesting, because one would not expect that. Are you doing more training, or just finding ways to do that yourself?
I’m learning; as a matter of fact, I retired “Shame on the Moon” from my performances for years because Bob Seger sang it so damned well. And I’ve reinstated it into my live shows for the first time since ’84. I got an outro that will stand alongside Bob Seger’s now, as far as I’m concerned. I can ad-lib the outros in a way where I feel like, “OK, this is my song again.”
You took possession back.
Yes. I’ve repossessed “Shame on the Moon.” [Laughs] But I had to grow as a vocalist to where I could legitimately reclaim it. So that’s cool, I mean, from my perspective, to want to grow to become better. If I know that I’m getting better on that front, I’ll keep on writing songs because I’ll want to continue to experiment with what I can do.
I wanted to address the issue of mortality a bit. Let’s face it, we’re not all that young anymore, but it sounds as if you’ve still got a lot of plans. So how do you regard life now that there’s plenty of it in the rearview mirror, but you’re not ready to sign off?
Now that time is compressed? [Laughs]
Yes.
As a younger artist, quote/unquote, I was quite comfortable with broad-stroke; I wrote “Please Remember Me” and “Making Memories of Us” and those broad-stroke love songs because I was experiencing life in a way that I was trying to express myself outward, to understand how I fit into that world out there. And now as I age and become a septuagenarian, I made Triage as the kind of record it is because I am facing mortality. As you realize that the time out in front of you is a lot shorter than the time behind you, rather than going for those broad-stroke love songs to send out there into the world to find out who you are, I’m writing about my interior life, because I think, to prepare myself to leave this planet, I have to have a better understanding of my interior self.
What would you still like to achieve that you haven’t yet?
Mmmm, that’s interesting. Well, I’m working on achieving certain things as a singer that continue to reveal themselves to me. I’ve become a better singer and I’m continuing to develop as a vocalist. That makes me happy, because for a long time, I was very unhappy on that front. As I age, the more singular my sensibility becomes about my interior experience; I’m also arrogant enough to think that’s worth sharing out there with these records that I make. But I may yet open up onto another plateau where I’ve examined mortality enough that, hey, it’s time to celebrate a little bit, and I’m gonna make a blues record, or I want to make a honky-tonk record that sounds like 1954. Who knows? I’m pretty much free to do exactly what I want to do.
Although in-person plans for Americanafest are on hold this year, fans of roots music can still take part in celebrating the music, no matter where they are.
From September 16th to the 18th, Thriving Roots: A Virtual Community Music Conference will host intimate conversations between pairings you won’t find anywhere else.
In August, the Americana Music Association Foundation (AMAF) revealed programming featuring director Judd Apatow in conversation with The Avett Brothers; Bob Weir with Oteil Burbridge; Béla Fleck with Sierra Hull; and Sarah Jarosz with John Leventhal and Chris Thile. The latest programming information also includes talks on empowering today’s creatives, developing streaming strategies and musicians in recovery.
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Apatow will sit down with The Avett Brothers to discuss the intersection of film and music, as well as the fine line between fine art and commerce. In 2017, Apatow co-directed the band’s critically acclaimed documentary, May It Last: A Portrait of The Avett Brothers. Since then, The Avett Brothers have released their new album, The Third Gleam.
The music that fans know and love from their favorite artists simply wouldn’t exist without the innovative musicians who came before them. Weir will sit down with fellow Dead & Company member Burbridge as they explore the inspirations and influence Black musicians have had on the Grateful Dead.
Now more than ever, musicians continue to push and blur the confines of genres to create the art they want to make. Fleck and Hull will speak to how roots music transcends and connects with a wide range of audiences during “Music Without Boundaries.” When it comes to creating that art in the studio, a producer’s ability to understand an artist’s vision is an integral part of the creative process. Moderated by Thile, Jarosz and Leventhal will delve into the connections forged between the artist and producer evident on her latest project, World on the Ground.
Additional new programming includes “Independent Control: The Power of Collaboration,” an inside look into how Americana industry professionals are empowering their independent artists to retain full creative control and the benefits of assembling a hand-picked team. Moderated by Jessica Nicholls (Metropolitan Groove Merchants), this discussion will include Blair Clark (Brooklyn Basement Records), Maria Ivey (IVPR) and Michelle Szeto (Paquin Entertainment Group).
In the streaming era, an abundance of digital resources can be found at the fingertips of industry and artist professionals, but how does one optimize those helpful tools? Led by Mike Fabio (New West Records), “Building a Streaming Strategy in 2020” rounds up Charles Alexander (Systemic), Margaret Hart (YouTube), Margaret Jacobi Lee (AMFM Management), Laura Ohls (Spotify) and Amy Wright (DittyTV) for a talk on developing real-world strategies that lead to increasing listenership and growing a solid fanbase.
Presented by Promises Behavioral Health, “The Show Must Go On: Musicians in Recovery” will find artists Phil Bogard and Jaime Wyatt in conversation with Shireen Janti (MusiCares) and Shane Ramer (That Sober Guy Podcast) about the road to recovery while offering how to find treatment and how others can take practical steps toward becoming a sober creator.
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Previously announced Thriving Roots programming includes intimate conversations between Brandi Carlile and Yola; Emmylou Harris and Ken Burns; and Jackson Browne and Mavis Staples. Rosanne Cash will bring together Ry Cooder, Angela Davis, Bonnie Raitt and Alice Randall for “Love and Vigilance,” a look at the history of protest music.
Moreover, RIAA Chairman/CEO Mitch Glazier and COO Michele Ballalynte will share an update on the music industry during “Record Setting” while looking at current trends and sharing their outlook. There will also be artist-friendly songwriting workshops and case studies like Mary Gauthier’s “Accessing the Universal in Your Songs: Mercy Now,” Taj Mahal’s “Music Is the Healing Voice” and an artist development breakdown with Black Pumas.
With over 50 panel discussions and more than 40 special events filled with music, Thriving Roots will bring the Americana music community together from across the world for three full days of engaging insight from its top industry professionals and leading artists.
Adding to the slate of artist conversations music fans won’t want to miss is Linda Ronstadt offering a behind-the-scenes look at Linda and the Mockingbirds, a new documentary that chronicles her 2019 journey with Jackson Browne and Mexican-American song and dance troupe Los Cenzontles to her grandfather’s hometown in Mexico, resulting in a tale of immigration, family and music. Moderated by esteemed journalist Randy Lewis, attendees will be able to watch the film screening and hear insight from the musical icon alongside the doc’s producer/director James Keach and Los Cenzontles founder Eugene Rodriguez.
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The Lumineers’ Jeremiah Fraites and Wesley Schultz will sit down with renowned filmmaker M. Night Shyamalan for an engaging discussion on the importance of retaining creative control of your art. In addition, Kathleen Edwards will speak with acclaimed Program Director Rita Houston (WFUV) about her new album Total Freedom, which marks her triumphant return to music after an eight-year hiatus from the business.
The common threads and differences of the Americana and country music worlds will be explored during “Ladies, Your Roots Are Showing,” presented by Change the Conversation. Moderated by CTC co-founder Tracy Gershon with freelance music journalist Marissa Moss, this panel session rounds up Brandy Clark, Tanya Tucker and Lee Ann Womack to share how they’ve been able to successfully navigate both worlds while maintaining their artistic integrity. They’ll also reveal the challenges and memorable moments they’ve experienced during their respective careers.
Reigning Legacy of Americana Award (co-presented by the Americana Music Association and the National Museum of African American Music) recipient Rhiannon Giddens joins NPR’s Ann Powers and the legendary Taj Mahal to discuss the theme of “Music is the Healing Voice.”
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Music buffs should also tune into a special virtual edition of “Songlines Music Meeting,” an Americanafest fan-favorite. Sean Coakley and Leslie Rouffé will once again invite listeners to hear mostly unreleased tunes and score them during the live session, leading to a discussion on how music programmers in various media formats select the songs they feature.
Aside from plenty of educational and networking opportunities, Thriving Roots attendees will have a chance to unwind and recharge with immersive virtual events and lifestyle breaks. Valerie June will walk folks through a guided meditation that explores how to center oneself using ancient teachings. Big Machine Label Group will spotlight The Cadillac Three, Sheryl Crow and Ray Wylie Hubbard with some must-see musical performances.
During “Aw Heck: An Oh Boy Music Break,” join the late John Prine’s own record label Oh Boy Records for a celebration of their talented roster which includes Tré Burt, Arlo McKinley, Dan Reeder and Kelsey Waldon. For “Come Hear NC,” experience the rich music of North Carolina featuring Hiss Golden Messenger, Jim Lauderdale, Mandolin Orange, Steep Canyon Rangers and more.
Pictured above in composite: Top Row (L-R): Judd Apatow, The Avett Brothers, Oteil Burbridge; Middle Row: Béla Fleck, Sierra Hull, Sarah Jarosz; Bottom Row: John Leventhal, Chris Thile, Bob Weir
Wimberley isn’t just another “little Texas town” for Sarah Jarosz. It’s where she grew up, where she first fell in love with bluegrass, and where she found seeds of inspiration that grew into World on the Ground, her first album with producer John Leventhal and her fifth overall. From the sharp-eyed opener “Eve” to the quick-picking of closer “Little Satchel,” Jarosz gives voice to the stories of hometown life and the dreams that grow beyond it — a radically empathetic detour through her past that gives relatable depth to World on the Ground.
“Ultimately, if I’m being true to myself, if I’m moving myself within my music, then that’s the most that I can try to do as a songwriter,” she says. “That’s what has to be at the basis of any great song: a real feeling that you believe in more than anything. Even the songs where it’s written from another perspective, it’s still me in there, trying to inject what my beliefs are and what I am feeling at any given time, but in a poetic way that feels like you’re reading a story. That’s what so many great songwriters do and have done. I’m studying them and trying to honor them, but also be myself, just try to find that balance of honoring tradition and doing my own thing.”
In the second half of our two-part Artist of the Month interview, Jarosz reveals which Texas songwriters she turned to for guidance on this musical trip home, how to tackle a song about a small town, and more.
The American small town is definitely well-trodden songwriting territory, and all the greats have returned to that endlessly inspirational well. Based on everything we’ve been talking about, you have different perspectives to explore, scenes to describe and a wealth of landscapes to uncover in that one place. What were you listening to when you were working on World on the Ground? Which artists did you turn to for inspiration?
Jarosz: I feel like in a way, the people I was listening to leading into this and during the recording process [were] a lot of what made me want to turn back to even writing about my Texas upbringing at all. When I was going into this, I think I had this moment. Sometimes as a writer I feel like, what should I write for the people who love my music? But I think it’s more important to say, what music do I love, and just get that zingy feeling from? How can I create that music myself? I want to write a song that I can sing and that I can believe in, because ultimately that’s all I can do.
Before John and I were locked in to work together, we met up in New York, and I played him a few ideas that I had lying around. From the get-go he was like, “Why don’t you try to change your approach and not necessarily write about your feelings and looking inward towards yourself? What if you tried to be more of a storyteller?” Just the simple act of him saying that, it changed my perspective a little bit. Simultaneously I was listening to all these Texas singer/songwriters. James McMurtry is one of my favorites of all time. I really did study his lyrics, because I think he’s one of the greatest in terms of creating these characters, but it doesn’t feel contrived — it’s like reading a novel in a song. Guy Clark, Nanci Griffith, Robert Earl Keen, Lyle Lovett — Shawn Colvin, obviously, her music was why I wanted to work with John in the first place.
I was realizing, OK, yes, so many other people have written about their hometowns — but I never have. When I started writing music as a high schooler, so much of the feeling when you’re that age is wanting to leave, writing about what you’re longing for and what’s not right in front of you. There is such a wealth of images and landscapes and memories that I have that are a part of who I am as a person, and I had never really taken the time to write about them. That’s what led to a lot of these songs. With that being said, it was never, “I want to make a concept record about my hometown.” I realized there were all these throughlines after all the songs were recorded and done.
What’s the most difficult, or moving, song for you to listen back to, or one that was hard to tackle when you were writing it?
“Maggie.” That one is based on a real person, and I don’t think that’s something that I’ve done before as a writer. Thankfully, she actually has written me since it’s been out and told me how moved she was by the song. It’s funny because there’s so much truth and honesty in a song like that, but then it’s also still being creative. The blue Ford Escape in “Maggie,” that was a car of my parents’, so it’s still songwriting and pulling images in from different inspirations but it’s not all necessary literal or the actual story.
It’s trying to pull symbols together in a way that makes the most meaning. That’s what I tried to do there. In a way, if that was the most difficult song for me to face, it’s actually turned out to be my favorite song on the record. I felt that way when we were recording it, that I was kind of hitting on something that I’ve always wanted to do and write about, but wasn’t quite ready for before. I think “Hometown” would be the other one that’s just very, very moving for me, even still, to sing — sometimes it’s hard for me to get through. Those two songs stand out in that way.
It sounds like you experienced a lot of firsts that shook up World on the Ground. How do Undercurrent and World on the Ground separate themselves in terms of the growth that went into each of them?
I think Undercurrent was a step towards wanting to just be me. The three albums prior to that were full of tons of guests on a lot of the songs. The way we made those, I would record my part, and Gary [Paczosa, who produced her first four albums] and I would invite so many of my heroes and musical friends in, and we’d just layer, layer, layer, layer with lots of different people. Undercurrent was the first album where I was like, no, this needs to be more truthful to me, and sound like that. There are four songs on that record that are literally just me and a guitar, no other instrumentation, no drums — I tried to keep things very small with that in an effort to start peeling away and finding out who I am as an artist and trying to convey that in a record format.
That felt like the beginning of that journey, and World on the Ground feels like I’m fully in that journey. I just feel like I believe in these songs more than I have in the past — nothing against my old songs, because the thing that means the most is when people say songs mean something to them, and moved them in hard and good times in their lives. I’m not trying to detract from that, but I really try to see these songs through in a lyrical way that I haven’t before. John was really key in helping me do that and trimming the fat and being really clear about what the purpose of each song, and the story that each song told. I believe in every single song so much. That’s a really kind of beautiful feeling. I’ve loved all of my records, but I haven’t felt it this strongly before.
What did World on the Ground teach you about yourself as a songwriter you didn’t already know?
It taught me that there’s always room to grow. Before I started writing this record, I had this sense of myself, where I was like, okay, these are the sorts of songs that I write, this is the vibe, and this felt like a departure from that. No matter how much you think you know or how much experience you have or whatever life has thrown your way, there’s just always more, and there’s always more to be discovered and learned. I think that was a beautiful lesson that this record taught me and sort of inspired me going forward. For me, it’s all about the songs — I think that’s also what I realized with this record. The music that I love, it all boils down to the song. That’s what I tried to focus on this time around.
Photo credit: Josh Wool
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