You Gotta Hear This: New Music From Julian Taylor, the Grascals, and More

We’ve got a fine collection of new tracks, videos, and performances for you this week in our premiere round-up, You Gotta Hear This!

Don’t miss some stellar bluegrass from genre staples – and labelmates – the Grascals, who are celebrating their 20-year anniversary, and Chris Jones & the Night Drivers. The former celebrate their heroes, the Osborne Brothers, with a cover of “Georgia Pineywoods” while the latter get topical while poking fun at doomsday rhetoric on “What If You’re Wrong.”

Jazzy roots duo Winterlark bring us a charming number with a somewhat unlikely subject– emojis. Well, and love gone not-so-right, too. Felled Oak, AKA Brian Carroll, also debuts “Taplines,” a track written while he worked the maple syrup season in Vermont. Singer-songwriter Amy Speace considers the construction of “The American Dream” with a brand new, summery music video and Spooky Mansion performs the title track from his upcoming album, What About You?, live outdoors on the ranch.

Don’t miss Julian Taylor’s debut of a brand new music video for “Pathways,” a song released earlier this week about family, connection, and inter-generational perspective that features the one and only Allison Russell.

To cap it all off, we’ve got an exclusive Yamaha Session from flatpicker Trey Hensley that posted to BGS earlier this week, too. It’s all right here and, we’ve said it before and we’ll say it again, but You Gotta Hear This!

Felled Oak, “Taplines”

Artist: Felled Oak
Hometown: Corinth, Vermont
Song: “Taplines”
Album: Smoke on the Hillside
Release Date: September 30, 2024

In Their Words: “All of the tunes on this project were birthed from time tapping trees in the sugarbush this past January here in Vermont. In the dead silence of winter, alone in a cluster of skeletal maples hiking uphill, I found myself humming and whistling melodies to keep myself (and the winter birds) company. Some of those melodies stuck and I’d pull out my phone, make a quick voice recording then when I got home transcribe them on the mandolin and octave mandolin.

“‘Taplines’ was a melody that fell beneath my own fingers effortlessly and when I brought it to good friend and musical partner, Mark Burds, a smile crept across his face as we played it together for the first time. All of these tunes were recorded in luthier workshops and small, personal spaces around central Vermont and featuring my closest musical friends. It’s music to be shared and played together, to connect. Intimate, organic, and honest.” – Brian Carroll, Felled Oak

“‘Taplines’ was really fun to put clawhammer on, because it’s one of those simple yet beautiful melodies that falls so nicely on banjo and it’s so satisfying to groove on.” – Mark Burds, banjo

Track Credits:
Brian Carroll – Octave mandolin, mandolin, upright bass, acoustic guitar
Mark Burds – Banjo


The Grascals, “Georgia Pineywoods”

Artist: The Grascals
Hometown: Nashville, Tennessee
Song: “Georgia Pineywoods”
Album: 20
Release Date: August 23, 2024
Label: Mountain Home Music Company

In Their Words: “I don’t believe The Grascals would be in existence without The Osborne Brothers. Their heavy impact and influence on us is one of the main reasons we all love bluegrass music so much. ‘Georgia Pineywoods’ is a classic Boudleaux and Felice Bryant song originally recorded by The Osborne Brothers and it just felt very fitting for us to include it on this album celebrating our 20th band anniversary. We will always salute The Osborne Brothers’ music and their continued inspiration to The Grascals!” – Jamie Johnson

Track Credits:
Kristin Scott Benson – Banjo
Danny Roberts – Mandolin
Jamie Johnson – Guitar, lead vocals
Terry Smith – Bass, baritone vocals
John Bryan – Guitar, tenor vocals
Jamie Harper – Fiddle, vocals


Chris Jones & the Night Drivers, “What If You’re Wrong”

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “What If You’re Wrong”
Release Date: August 23, 2024
Label: Mountain Home Music Company

In Their Words: “Jon Weisberger and I co-wrote the song as a conversation with a conspiracy theorist. It’s meant to be a light-hearted look at the subject – I’m pretty sure it’s the first bluegrass song to mention chem trails! – but it does ask a serious question: When something earth-shaking is predicted, whether it’s the end of the world, a change of government, or just the results of a major ballgame, what do you do when it doesn’t happen? Do you question your sources or double down? We have so much of this in the era of social media and different realities we live with, it seemed pretty timely, and we had fun with it.” – Chris Jones


Amy Speace, “The American Dream”

Artist: Amy Speace
Hometown: Nashville, Tennessee
Song: “The American Dream”
Album: The American Dream
Release Date: October 18, 2024
Label: Wind Bone Records

In Their Words: “I’ve worked with Neilson Hubbard and Joshua Britt (their production company is Neighborhoods Apart) on a bunch of videos, so I trusted them to get the vibe of the song. Also, Neilson produced the record and Josh played on it, so I knew they got it. We all wanted to capture that feeling of the freedom of the end of summer. I grew up mostly in a small town with rural countryside all around it and we’d take long drives through the cornfields as the sun set. We shot this on a country drive and an abandoned cabin (also used in the album art) near Franklin, Tennessee. The appearance of the tractor and the train are coincidences.” – Amy Speace

Video Credit: Neighborhoods Apart, Neilson Hubbard and Joshua Britt


Spooky Mansion, “What About You?”

Artist: Spooky Mansion
Hometown: San Francisco, California / Bay Area
Song: “What About You?”
Album: What About You?
Release Date: August 22, 2024 (song); October 31, 2024 (album)

In Their Words: “I wrote ‘What About You?’ with the intention of painting a picture of my life through different stories. The places I’ve been and the people I come from have all made me who I am. In those early days of a relationship, when you’re getting to know someone, there are certain memories that you retell to explain who you are.

“The verses are meant to be quiet, subdued, and more introspective as I try to describe myself. The chorus is bigger and joyful as I turn the attention to the person I’m talking to. In all my experiences, ‘I didn’t even know that I was looking for you.’ It culminates in a repeated anthem at the end as a reminder that despite what you’ve already lived through, there is more in life that will keep changing you and continuously creating you into the person you are. In this case, it was a beautiful woman I’d recently met who is now my wife and love of my life.” – Grayson Converse, Spooky Mansion

Video Credit: Directed by Jacob Butler.


Julian Taylor, “Pathways” (Featuring Allison Russell)

Artist: Julian Taylor
Hometown: Toronto, Ontario, Canada
Song: “Pathways”
Album: Pathways
Release Date: August 21, 2024 (song); September 27, 2024 (album)
Label: Howling Turtle Inc.

In Their Words: “I remember sitting in my living room when the melody and chord patterns just came to me. Often, when I sit down to write music, it’s the first thing that I start playing that sticks, because it’s raw and honest. I worked the progression in several different ways. First on the acoustic guitar and then on the piano. I still have probably upwards of seven or eight takes of it somewhere on my voice notes. Some were quite punk sounding, while others were quite folk sounding. Ultimately, the sound of the melody and progression in 6/8 time seemed to have the most impact on me.

“This song became a lyrical collaboration between two friends of mine that are also neighbors. I was invited to hang out and write with my pals Robert Priest and Rosanne Baker Thornley, who has a studio down the road from me. When I arrived, I showed them what I had been working on and they loved it. We ultimately wanted to write a hopeful song that spoke to our next of kin, and since we all have children who are the most important people in the world to us, we followed that inspiration. I performed with my friend Allison Russell at the Juno Awards this year and asked her if should be interested in collaborating on the song seeing as she is a mother as well and I am so honored that she said yes and brought yet another magical spark to our creation.” – Julian Taylor

Track Credits:
Julian Taylor – Vocal, guitar
Allison Russell – Duet vocal
Colin Linden – Electric Dobro, mandotar, bass, harmony vocal
Gary Craig – Drums, percussion
Jim Hoke – Saxophones
Janice Powers – B3 organ


Winterlark, “Ending With Heart Heart Heart”

Artist: Winterlark
Hometown: Santa Cruz, California
Song: “Ending With Heart Heart Heart”
Album: Sing To Me About Tomorrow (EP)
Release Date: August 23, 2024 (song); September 20, 2024 (EP)
Label: Squink Records

In Their Words: “It seemed that the world was ready for a song about the insidiousness of emojis, so I tried to write a modern-day song about a poorly communicated break-up, like the one in Elvis Presley’s rock-n-roll classic ‘Return to Sender.’ One of the keys to the song is the pairing of the sad lyrics with the happy, infectious beat driven by Kristin and drummer Chris Haskett. They make everything swing.” – Sweeney Schragg

“When Sweeney shared the core idea of this song, I do believe I laughed – uncomfortably. Aren’t we all guilty of throwing emojis at people instead of real words? Sweeney left six spots open for bass fills, a better gift than a box of black licorice (my favorite).” – Kristin Olson

Track Credits:
Sweeney Schragg – Guitar, vocals
Kristin Olson – Upright bass, vocals
Chris Haskett – Drums


Yamaha Sessions: Trey Hensley, “Hold What You Got”

On a sunny Sunday afternoon just outside of Nashville, Tennessee earlier this summer, BGS linked up with award-winning guitarist, songwriter, and jaw-dropping flatpicker Trey Hensley to kick off a new series of Yamaha Sessions. Hensley, a GRAMMY nominee and the reigning IBMA Guitar Player of the year, pulled his custom Yamaha FG9 R out of its road case to shred through a cover of a classic Jimmy Martin number, “Hold What You Got.”

Hensley is a picture perfect modern demonstration of how bluegrass trailblazers, like Martin, blurred the lines between country, old-time, bluegrass, and beyond. His voice reminds of honeyed country singers like Randy Travis, while his blisteringly quick picking and remarkable articulation are built on Tony Rice and Clarence White building blocks – but simultaneously, those techniques are as forward-looking and contemporary as his peers, Billy Strings, Jake Workman, and others. Hensley pulls limitless tone and warmness from his Yamaha FG9 R, even while approaching the song with near-aggression, ripping through acrobatic triplet licks and leaning into ugly delicious chromaticism in every solo.

More here.


Photo Credit: Julian Taylor by Robert Georgeff; the Grascals by Laci Mack.

WATCH: The Golden Age, “Weirdo”

Artist: The Golden Age
Hometown: Nashville, Tennessee
Song: “Weirdo”
Album: I’m Sure It’ll Be Fine
Release Date: February 21, 2020
Label: Poke the Bear Records

In Their Words: “This video was made by those wild guys from Neighborhoods Apart, Joshua Britt and Neilson Hubbard. Josh had this concept he’d always wanted to do that ‘Weirdo’ seemed to fit nicely. Ultimately the video/song is a quick prick to the balloon that suggests that in order to connect with other people we need to present these shiny-flawless images socially and hide our odd nuances under a bushel… But what all that green-screen, horse-hockey magic really does is make us feel isolated. And like little worms that don’t measure up. The video is a trumpet’s call to embrace the fact that, at our nitty gritty, we’re all just a couple of strange brained-lumpy bodies in skin-tight suits plucking on banjos and mandolins in front of someone’s garage in the middle of the afternoon. More or less.” — Bryan Simpson and Matt Menefee, The Golden Age


WATCH: The Orphan Brigade, ‘Pain Is Gone’

Artist: The Orphan Brigade
Hometown: Nashville, TN
Song: “Pain Is Gone”
Album: Heart of the Cave
Release Date: October 20, 2017
Label: RedEye/At the Helm/Proper Records

In Their Words: “During our time writing and recording Heart of the Cave in 2,500-year-old caves underneath the Italian city of Osimo, we visited the small rural church of San Filippo De’Plano. It was built by the Knights Templar in the 12th century on a site that they believed to have telluric and healing energies. In a specific point inside the building, where the natural radiations of the land are concentrated, many people have found healing for rheumatic pains and other ailments. Just a matter of feet away from the healing corner is a 15-foot deep open crypt containing bones which, in itself, was remarkable to witness. As soon as we crossed the doorstep of the church, we immediately sensed a deep peace and the whole experience of the visit was extremely profound. We started playing the guitar and, within an hour, the song ‘Pain Is Gone’ arrived.” — Ben Glover


Photo credit: Paolo Brillo

The Producers: Neilson Hubbard

Long before he built a studio in his backyard, long before he twiddled knobs for a range of rootsy artists, long before he developed a reputation as one of Nashville’s most adventure-seeking producers, Neilson Hubbard paid his dues as a struggling singer/songwriter. He got a break more than 20 years ago with the band This Living Hand, which signed in the early 1990s to E Pluribus Unum, the boutique label founded by Counting Crows frontman Adam Duritz. It wasn’t long, however, before the Mississippi native embarked on a solo career, starting with 1997’s The Slide Project (which mined Memphis power-pop bands like Big Star and the Scruffs) and 2000’s Why Men Fail (which channeled shoegazer acts like Galaxie 500). He achieved, arguably, his greatest success with a short-lived project called Strays Don’t Sleep, which he co-founded with Matthew Ryan and had a song featured on One Tree Hill.

In the 21st century, however, Hubbard has gravitated away from the stage and toward the studio. His résumé is an intergenerational who’s who of folk, rock, and Americana: Glen Phillips’ Mr. Lemons, Apache Relay’s American Nomad, Matthew Perryman Jones’s Throwing Punches in the Dark, Ben Glover's Atlantic, and Amy Speace’s That Kind of Girl, to name just a few. He prefers to remain invisible behind the console, but if he does have a personal aesthetic, it’s one defined by a sense of space and eccentricity, with an emphasis on capturing soulful vocals and juxtaposing loops with live instrumentation.

His perspective behind the boards is defined by his experiences behind the microphone and in the tour van. While Hubbard does release solo material from time to time (his latest is 2013’s I’ll Be Your Tugboat), these days he’s more interested in exploring the dynamics of a group. Perhaps his most ambitious project was a country-folk supergroup called the Orphan Brigade, who last year released a period-piece concept album, Soundtrack to a Ghost Story. It’s a novelistic collection of songs set during the Civil War and features an array of singer/songwriters: Ben Glover, Joshua Britt, Jim DeMain, Gretchen Peters, and Kim Richey. They wrote and woodshedded songs for a year, then recorded them in a haunted house in Franklin, Kentucky. It’s artisanal folk — handmade in an industry that favors mass production — and the project not only shows off Hubbard’s imaginative production, but demonstrates how he is rethinking the role of the producer as a creative catalyst.

It’s all about striking a balance between these two sides of the music business: the creative and the technical. “If a couple of years go by and I don’t do something like the Orphan Brigade, I get a little crazy,” he says. “I think right now I’ve got a bunch of different outlets to express myself.” 

I knew you first as a singer/songwriter and performer. How did you get into producing?

When I was in This Living Hand with a guy named Clay Jones, we were always doing demo stuff. A lot of times we’d stay up all night at his house in Oxford, Mississippi, and do four-track recordings. He’s an amazing musician, and I always saw him as the producer guy and I was the singer/songwriter. Then, in the late ‘90s, Trent Dabbs — who lives here in Nashville and does the Ten Out of Tenn stuff — asked me to produce his band’s first EP, and I thought, I think I can do that. I realized pretty quickly how much involved beyond just being a musician, but I also realized that I had been doing that all along: just the coordination of making a record and getting from point A to point B. That’s when it really started, with Trent’s record.

Over the last 15 or 20 years, I became an engineer, out of necessity, and I started mixing records. I’ll mix other people’s records that I didn’t produce. I came at it as an artist/writer first and then ended up on the technical side of it. All my favorite producers are that way. They’re artists first. Even somebody like Rick Rubin. I was listening to an interview with him, and he was talking about it from the perspective of just being a fan of music. I think that’s always a good way. If your first instinct is just to twist a knob, then I don’t think that’s good. The only thing that really matters in any of this is what the song is, what the performance is. Does it resonate with people?

How does that inform your process?

I always try to figure out what someone does — what their thing is — and just turn that up as loud as it can possibly be. That’s the most important thing. It’s not about putting my stuff on their record. Sometimes you need to be invisible, just like sometimes you need to add things. But the most important thing is that their thing is the loudest thing. I think it helps to have been a recording artist and have gone through the process so many times myself.

So you’re trying to balance technical ability with songwriting knowledge?

Absolutely. The emotion that the artist is trying to convey … that’s got to be the most important thing. The technical side of it should never get in the way of that. The studio should just be a tool that you use, like a hammer. You shouldn’t be thinking about the hammer when you’re building something. You should be thinking about what the house is going to look like. That’s what I try to do. That’s the mindset I try to stay in when I’m working with people. What is the emotion this artist is trying to convey, or what is the story they’re trying to tell? And how do you get the listener as close to that as possible.

Can you tell me about your studio?

It looks like a little nothing out behind the house, and then you walk in and it looks much bigger on the inside. This is actually the second version of it. I had one, a little barn/garage kind of thing. That’s where we made Glen’s record — a lot of records, actually. The new version is about three or four years old, and I was able to incorporate what I wanted. I built it from the ground up. It still looks like a little garage, but it’s got vaulted ceilings, wood floors, a tracking room, iso rooms — all the things that I’d want out of a studio. But it still feels vibey. It definitely has my feel in there.

I always liked recording in houses. I never liked being in the most professional studios. They made me feel uptight. You’re watching the clock. Even the air in there feels funny to me. I always like to walk into a place where you’d actually want to hang out, where you feel comfortable. That’s a big part of it, too — just making people feel comfortable. That’s the only way you get people to be honest. Or maybe that’s just me. Sometimes people like to … I won’t say manipulate … but sometimes producers think they’re pulling stuff out of the artist. I have always found that great singers can sing, but you have to let them be comfortable enough to sing. So you want them to feel inspired by a place, even if they don’t know it’s happening.

Every artist who comes into the studio is going to be very different in what they do, which makes your approach different. But is there anything that you do that’s the same from one artist to the next?

Probably just hanging out. Getting to know them. That’s the most important thing to me, when I’m starting a record. I don’t want to just say, "Hey, my name’s Neilson. Let’s make a record." To me, you have to understand where they’re coming from and speak the same language. You have to know what they mean when they say something and they have to understand you when you respond. You have to build up some trust, at least if you want to get something good in the end. You don’t want everybody looking at each other going, "What is that thing? What did we just end up with?"

What you’re trying to start with is a roadmap. You’re trying to find the map of where you want to go. But the thing is, you’re going to end up somewhere different every time. That’s just part of it. You can’t know the ending of the story. That’s why getting to know them at the very beginning of the process, just hanging out and building up some trust, is so important. It makes you open to what is going to be revealed at the end of the process. Another thing that I’ve always said — but it’s never going to be possible — it’d be awesome if you could make a record and then burn your studio down. Rebuild it every time. Then you would never be churning out anything the same way.

When I started Glen’s record, he said he wanted to do a more late-night-sounding record — something he had never done. It was all based off mellow, intimate songs, so we started with the vocals and worked around that. I just did a record with Ryan Culwell about a year ago called Flatlands, and he’s gotten a lot of attention lately. We started with the same kind of technique. He was just playing stuff for me. No headphones. Just get in the room and play the songs as many times as you want. We’ll record them all and find the best takes and go from there. Some songs sounded good like that, and some songs we realized needed a band.

It seems like you could do that anywhere — away from the studio, away from the technology that drives most recording.

We’re in this time period when anything is possible. There’s nothing you can’t do. If I wanted, I could make a record with my dog. I could let her bark her head off and, if I got enough barks, I could get the scale. Then I’d get her running around the house and build loops out of the sound of her feet. Actually, that might be cool, if you could do it musically. But if you’re just trying to set up a grid and make it too perfect, then it won’t have much feeling. Building loops and making that kind of music, however, is incredible when it’s done well.

One of my favorite records of all time is the Kanye West album that Jon Brion did, Late Registration. I know everybody has their thing about Kanye, and I’m the same way. Sometimes it’s a little much. Bu the music on that record, everything about it — the beats, his rapping — everything sounds handmade. A lot of original hip hop is like that. Very handmade. I love that stuff. It’s not there to be perfect. It’s just there to have feeling.

Is that something you try to emphasize in your own work — that sense of the hand-crafted?

I think handmade is another word for real or organic. You can make things with loops that feel that way as long as they feel human. I’m working with an artist named Audrey Spillman, who’s also my girlfriend. That’s the first time that’s ever happened, where I’ve dated an artist. She’s this weird mix of indie-pop, soul, and a little bit of jazz. I spent a lot of time making loops for us to play to — just her making sounds with her mouth or things around the house … organic and very interesting sounds, plus some ambient stuff. When we ended up tracking a band with her singing live, we were playing to these loops that we had made. So it wasn’t just a straight-down-the-middle-of-the-road record. I’m mixing it right now. I haven’t gotten to do that kind of record in a while, because I’ve been doing a lot of live-sounding records, like the Orphan Bridge record. We all got together and did it live in a house in Kentucky. It’s different. But that’s the thing. It’s most inspiring to me when a record is dictating your process. The art is dictating the process, not the other way around. That’s when I feel like I’m really doing something cool.

Both of those records sound very different from the new Ben Glover record you did, The Emigrant. It’s very minimal, with voice and guitar and maybe a few ambient elements.

That’s probably the fifth record we’ve worked on together. The first couple were more straight-ahead Americana records, very singer/songwriter. The last one we did (Atlantic), we went to Ireland and recorded in the house he grew up in, with the band sitting in a circle in the living room. For The Emigrant, he knew he wanted to do something that would explore his Irish roots. So we started with that.

We recorded his acoustic differently from how I’d ever recorded, but I thought it would work well for what he was trying to do. It took up a different space. We needed the guitar to function in a certain way, so I’d mic it this way. We knew we weren’t going to put a lot of instruments on it. Everything was going to be super important, because every element was going to take up a lot of space. And the vocals have to be arresting. Of course, the vocals always have to be arresting. That’s the most important thing on any record. But they had to stand out on this record. It’s funny — the record we did in Ireland was about his connection to the Mississippi Delta, and then he came back here and we made a record about missing his home in Ireland. He felt caught between two worlds, always going back and forth and feeling like an immigrant in his own country. That was the start of the new record.

It seems like place is very important to you. It almost sounds like it determines the creative process.

I’m always up for going somewhere new and pushing myself to a place where I’m not sure what the end will be. That’s inspiring because it makes me more creative. I know the drum sounds I can get in my room here, and I’m always manipulating that. But there’s just something really inspiring about being somewhere you’ve never been and making music there. It’s probably the same thing a performer feels when he gets on a new stage in a city he’s never played before. The reverb might sound different, or the crowd reacts differently, or whatever. It’s a human thing, and I’m always trying to tap into that. There’s so much calculation in the world right now. But I think spontaneity is part of true art.

I do a lot of film stuff, as well, with a guy named Joshua Britt, who’s also in the Orphan Brigade. Just some music videos but also some music documentaries to chronicle the records we do. We’re about to do a record with him and me and Audrey and Jim DeMain and this artist from Scotland, Dean Owens. It’s called Buffalo Blood. Dean has gone out West a lot and is drawn to Native American stories, and he started writing a lot of songs about that. He got to know Josh and Audrey when we were making the Orphan Brigade record, and we started writing together and playing songs together. It was something really cool, but what did we want to do with it?

We had done a documentary about the Orphan Brigade record and we decided to do something similar with this one, so we’re going to talk about why we want to write about Native American history and why that’s important. And we’re going to make the record in the desert — literally outside in the desert — at the end of May. We’ll be flying out to New Mexico, so it ought to be a beautiful setting to make a record. We’ve been dealing with the logistics of how we’re going to do it. I think we’re going to have to have a mobile battery-powered rig. Maybe that’s too much work for one record, but that’s the stuff I want to do. I have no idea how it’s going to sound. I just know I can’t wait to find out.


Photo credit: Jim DeMain

FILM PREMIERE: The Orphan Brigade, ‘Soundtrack to a Ghost Story’

Artist: The Orphan Brigade (Neilson Hubbard, Ben Glover, and Joshua Britt)
Hometown: Franklin, KY
Album/Film: Soundtrack to a Ghost Story
Release Date: November 13

In Their Words: "I grew up in Franklin, KY, where the house is located. My uncle ran the Octagon Hall as a Civil War Museum when I was growing up, so it was kind of 'in the family.' I studied history at university and always loved the wild history of Kentucky so I loved hearing about the place. Over the last few years, it developed this haunted house reputation thanks to many of the television ghost shows. I went there a lot as a kid, but for some reason, never spent a lot of time in the actual house. I would go to family gatherings on the grounds and run around in the fields.

When I went back after all these years, it felt like stepping into an old, distant memory. Even during the first visit, we started talking about recording music in that place because it's pretty obvious that the house has some unique sound characteristics. The Octagon Hall has a big heaviness to it, just in the architecture, but also because the place is full of a history filled with slavery and death and personal tragedies. It's centered right in the middle of the place I come from in the South. It's a part of my life I do feel a love and a pride for, but this place forces me to look at that past — and at brotherly warfare and poverty and death — and decide for myself what a life is. Also, that whole part of Kentucky is one of the most beautiful places I have laid eyes on. Going back to Franklin and to the Hall made me feel all of those things at once, and that is the strong force that inspired me to make art there." — Joshua Britt

THE ORPHAN BRIGADE – Soundtrack To A Ghost Story // THE FILM from Neighborhoods Apart Productions on Vimeo.


Photo credit: Jim Demain

WATCH: The Orphan Brigade, ‘Trouble My Heart (Oh Harriet)’

Artist: The Orphan Brigade (Neilson Hubbard, Ben Glover, and Joshua Britt)
Hometown: Franklin, KY
Song: "Trouble My Heart (Oh Harriet)"
Album: Soundtrack to a Ghost Story
Release Date: November 13

In Their Words: “It started with a fascination about a house that has a dark, tragic and compelling history. As our time writing and recording in the house went on, however, we realized that we were talking about much more than ghosts and history. We were talking about bigger and wider themes that reach into the core of us all, personally. The journey of the record is one of inward self-reflection, not just a ghost hunt.” — Neilson Hubbard