Tag: kacey musgraves

I Guess I’ll Go Get Stoned: 16 Roots Songs for 4/20

Posted on by Justin Hiltner

It’s a national holiday. Patron saint, Willie Nelson. And perhaps his heir would be Kacey Musgraves? Or Billy Strings. Or Margo Price. Or Snoop Dogg. We’ve got options. 

Bluegrass and country may be upheld as the pinnacles of wholesome, “American values” music, but in reality artists have been putting the GRASS into bluegrass since as long as that term has been in popular usage. (And damn, does it look good on a sweatshirt, too.)

We hope you ascend to new heights this 4/20, and while we’re at it we hope you enjoy these 16 high lonesome roots songs perfect for the occasion. 

Roland White – “Why You Been Gone So Long”

Roland White, his late brother Clarence, and the Kentucky Colonels are known for “Why You Been Gone So Long,” and in 2018 Roland re-recorded the number on his IBMA Award-nominated album, A Tribute to the Kentucky Colonels, with a star-studded cast of friends. 

Also known for his monthly shows at the World Famous Station Inn in Nashville (pre-COVID), every time Roland sings the line, “Nothing left to do, lord, so I guess I’ll go get stoned,” the crowd erupts with laughter. To this writer, though, that line feels less like a hilarious non-sequitur from a septuagenarian bluegrasser and more like sage wisdom. I guess I will go get stoned!

Selwyn Birchwood – “I Got Drunk, Laid & Stoned”

As modern bluesman Selwyn Birchwood put it in our premiere of this track, “This song proves that you can party to blues music.” That may seem like an obvious fact to a blues fan, but the uninitiated deserve to know the blues isn’t just about what you’ve lost, it’s about what you gain – through the music and otherwise. As Birchwood concludes, “‘I Got Drunk, Laid and Stoned’ is the epitome of what I feel is missing in a lot of blues music right now. You’ll find all of the rawness, edginess, and boundary pushing that I love…” That is the blues. 

Ashley Monroe – “Weed Instead of Roses”

No matter the occasion, when you’re reaching for flower… buds – reach for weed. Ashley Monroe makes a compelling case that men are certainly not the only ones in country who can live up to the outlaw moniker. Guthrie Trapp chicken pickin’ along is the cherry on top of this cannabis bop.

John Hartford – “Granny Wontcha Smoke Some Marijuana” 

For all those who’ve ever imagined hotboxing a steam-powered aereo plane, here’s a lazy, loping sing-along that kicks into barn-burning — or, grass burning? — country meets honky-tonk meets bluegrass. You’ll be calling it “mary-joo-wanna” now too. 

David Grisman & Tommy Emmanuel – “Cinderella’s Fella”

If you’re here, you must be celebrating 4/20, so you might know about Cinderella – a potent, hazy strain that Dawg attributes to his late friend Jerome Schwartz in Petaluma, California. If Cinderella were a princess instead of a strain of cannabis, Grisman would certainly arrive at her door with glass slipper in hand. Instead, we assume he fits her with a glass bowl instead? This performance by Grisman and Tommy Emmanuel is sweet, tender, and jaw-dropping. Classic “Dawg music.”

Courtney Marie Andrews – “Table For One”

Everyone self medicates, whether they’re aware of it or not, it’s just that touring musicians — by the very nature of their jobs — face their self medications, “crutches,” and vices everywhere they go. Courtney Marie Andrews, a lifelong Americana nomad, captures the depression and melancholy of touring perfectly in this haunting song, which reminds the listener that you don’t really want the life of the person on stage, no matter how glamorous it might seem. If the sometimes foggy dissociation of weed smoking were bottled and infused into a song, it would be this track.

New Lost City Ramblers – “Wildwood Weed”

Have you ever asked yourself the question, “What if Mother Maybelle smoked pot?” With this song — a Jim Stafford hit — The New Lost City Ramblers kinda did! 

New life side quest unlocked: smoke weed from a corncob pipe. 

Kacey Musgraves – “Follow Your Arrow”

It’s April 20th and your arrow is pointing directly at your bong. F*CK, water pipe. Follow that arrow, babies! Do you! Light up a joint. (Or don’t.) 

Nah, do. 

Charlie Worsham feat. Old Crow Medicine Show – “I Hope I’m Stoned (When Jesus Takes Me Home)”

We’ve loved Charlie Worsham and the bluegrass bona fides underpinning his brand of modern country for quite a while, but it’s extra perfect when he sits in and otherwise collaborates with the fellas in Old Crow Medicine Show. Heaven’s golden streets? Overrated. What about its fields of pot?! I mean… it will have amber waves of cannabis, will it not? It’s called “heaven.” 

Margo Price – “WAP”

She’s partnered with Willie’s Reserve to release her own branded strain of weed, “All American Made,” and she’s infamous for smokin’ and tokin’. But in this Daily Show with Trevor Noah spot featuring comedian Dulce Sloan, Price is called upon to prove the point that if “WAP” were a country song, the universe would still be as upset at its radical centering of female pleasure and agency. (She’s right, of course.) Thank GOD for Sloan and Noah making this point, because it’s given us this country-rendition of Price singin’ “Need a hard hitter, a deep stroker/ a Henny drinker, need a weed smoker.” Perfection. 

Chris Stapleton – “Might As Well Get Stoned”

Look, you can’t mess with the hits. This list wouldn’t/shouldn’t exist without this song on it. Chris Stapleton, perhaps the biggest crossover artist — crossing over from bluegrass to mainstream, of course — in roots music since Alison Krauss proves his allegiance to whiskey and weed in this jam from his smash major label debut, Traveller. 

It’s like he took Roland’s advice! Might as well…

Peter Rowan – “Panama Red” 

Peter Rowan’s career has been well-peppered with southwestern and Latin folk-flavored bluegrass, but did you know he wrote “Panama Red”? This live recording is suitably trippy for 4/20, with a slight atonal warble as if the record were slightly warped on the turntable and the pickers holding on for dear life to Peter’s delightfully languid phrasing — that somehow drives as much as it lays down for a weed-induced siesta. Everybody’s acting lazy…

Billy Strings – “Dust In A Baggie”

He means kief, right? Right?? 

Guy Clark – “Worry B Gone” 

How every “worried man” in Americana, country, and the blues still has a job when “worry B gone” exists is perplexing, isn’t it? Granted he was not a medical professional, but Guy Clark’s endorsement surely must stand for something. Don’t give me no guff, give me a puff!

Willie Nelson – “Roll Me Up and Smoke Me When I Die”

Did you know that funerary and embalming processes are actually incredibly harmful to the environment and often non-sustainable? But this style of cremation must be ideal. Do it for the earth. Think green. HaHA!

John Prine – “Illegal Smile” 

Love that plant peeking from behind John Prine like a shoulder angel. Let’s all do Prine proud and don illegal smiles today, how about it? 

With that in mind, let’s not celebrate today without also striving towards decriminalization, decarceration, and the expungement of criminal records for anyone currently imprisoned on marijuana charges. Illegal smiles no more!

Pictured: Limited edition BGS herb grinder. Want one? Let us know in the comments and we might add them to the BGS Mercantile!

The String – Brandy Clark

Posted on by Chris Jacobs

In an era where women are marginalized on country radio, Brandy Clark is at the top of most people’s list of women who should be on the air a lot more.

LISTEN: APPLE PODCASTS

She’s written hits for others on Music Row, but her own records are beautifully produced and full of insight about people and humor that would have tickled Roger Miller. Clark’s shared a Grammy Award for writing Kacey Musgraves’ “Follow Your Arrow” and earned numerous nominations as an artist. Her latest is called Your Life Is A Record. Also in the hour, the prophetic and passionate folk and protest music of Eliza Gilkyson who focused on what she knew would be a pivotal year in history, producing the album 2020.

BGS Top Moments of 2019

Posted on by Editor

If music happened in 2019, but wasn’t a “song” or an “album,” does it make a sound– er… does it warrant real estate in any of the many year-end pieces, wrap-ups, and lists hitting the internet on a daily (sometimes hourly) basis? Why, of course it does! Each year BGS notes Top Moments of roots music — whatever form they may take — as a way of reminding ourselves that the art we each consume, especially of the musical variety, is often at its best when it eschews the formats and media we expect and/or most closely associate with it. What changes about the way we view a year in music when we alter the context as such? First and foremost, we change just that — our viewpoint. Turns out that makes a world of difference.

Speaking of top moments, one of the best for the BGS team took place just last week, as we premiered a brand new look with an updated homepage and logo. A lighter color palate, clean modern lines, and updated fonts usher in a new era for the site, and hopefully a positive reading experience for you, our beloved fans and readers. Not unlike the state of roots music itself, our new look is constantly evolving, but what’s at the heart of it remains timeless. Now, read about more moments that turned our heads and caught our ears over the course of the past 12 months.

Chris Stapleton Creates LEGO Alter Ego

When Chris Stapleton’s music video for “Second One to Know” hit YouTube, I found myself musing, “What are the benchmarks we use to determine someone’s level of notoriety? What are their claims to fame? Owning a tour bus? Having your first number one hit? Being the musical guest on SNL? Having a highway named after you? Or perhaps a proclamation from your local public figures designating a [Named After You] Day?” Seriously, can you imagine getting to a point in your country pickin’ / singin’ / songwritin’ career where your Game of Thrones cameo falls into the background of your music video star LEGO-self?

I would be remiss if in this blurb I did not mention another real-ass country singer/songwriter/rabble-rouser who dabbled in alternative visual media this year, too — that would be Sturgill Simpson’s “Sing Along.” More of this oddball, non sequitur energy in country in 2020, please. – Justin Hiltner

Dolly Parton’s America Podcast Finds Common Ground

Epiphanies in the podcast series Dolly Parton’s America are too many to count, as host Jad Abumrad and his team explore the notion that the Tennessee songbird is a rare unifying force in the fractured socio-cultural universe — everyone loves Dolly! But the fourth episode, titled “Neon Moss,” finding the common ground of Dolly’s Tennessee mountain home and the Lebanon mountain home in which Abumrad’s dad (a doctor who became friends with Parton after treating her in Nashville) grew up is gripping on a cultural and emotional level. Bonus: BGS’ own Justin Hiltner and his banjo pop up as a key part of a later episode. – Steve Hochman

Duos, Duos, and More Duos

Were you seeing double this summer? Mandolin Orange, Tedeschi Trucks Band, and Shovels & Rope offered exceptional albums and sold tons of tickets. From the sweeping San Isabel from Jamestown Revival to the intimacy of Buddy & Julie Miller’s Breakdown on 20th Avenue South, roots duos were having their moment. Personal favorites included The Small Glories and Bruce Robison & Kelly Willis, but the true discovery for me was Dravus House, a Seattle duo who delivered an understated and beautiful album that blends Elena Loper’s vocal with Cooper Stouli’s soft touch on guitar to stunning effect. – Craig Shelburne

Del McCoury Turns 80

At 80 years old, Del McCoury has witnessed the rise of bluegrass while still being actively involved in it. (In fact, he’s got a gig this weekend in New York with David Grisman, Jerry Douglas, Drew Emmitt, Andy Falco, and Vince Herman.) An all-star tribute at the Grand Ole Opry provided perhaps the most musically satisfying night of music this year for me, mostly because The Del McCoury Band has still got it (and they make it look like so much fun). Check out their 2019 performance on Live From Here With Chris Thile. – Craig Shelburne

Hadestown Wins Big on Broadway

In an era when Broadway has seemingly been taken over by jukebox musicals that rehash the catalogs of legacy artists, watching Anaïs Mitchell pick up eight Tony Awards for Hadestown was a surreal triumph. For those of us who have followed Mitchell’s career over the past couple of decades, it was truly remarkable to see a grassroots musical that she first staged in 2006 reach the heights of Broadway, earning her a win for Best Musical and Best Original Score. “Wait for Me,” indeed. – Chris Jacobs

Ken Burns Digs Deep into the Roots of Country Music

Ken Burns has a long history of digging into America’s deepest roots, through documentaries like The Civil War, Jazz, Baseball, and The National Parks. In 2019 he took those roots in a more on-the-nose direction, exploring the long and varied history of American Roots Music through his PBS documentary series Country Music, which premiered in September. As the filmmaker himself said in a recent interview, “Country Music is about two four-letter words: love and loss.” Thanks to Burns, who looks unflinchingly at all of the different stories that have shaped this music, we get to see the love, the loss, and everything in between. – Amy Reitnouer Jacobs

MerleFest and IBMA, Rediscovered

After a long break, I made an effort to reconnect with two of the preeminent roots music festivals  in 2019 – MerleFest and IBMA’s World of Bluegrass. With other obligations in Nashville, it had been five or six years since I’d attended either, and both surprised me for different reasons. At MerleFest, I was struck by the caliber and diversity of artists, in particular for landing a headlining set by Brandi Carlile in her breakout year. Five months later, I returned to North Carolina to see IBMA in action, amazed by the way that the city of Raleigh has embraced the musical experience, from the Bluegrass Ramble to the StreetFest with plenty of outdoor stages. North Carolina, I’ve got you in my 2020 vision. #ComeHearNC – Craig Shelburne

“Old Town Road” Can Lead Anywhere

Is “Old Town Road” country? Like millions, maybe even billions of fans, I’m inclined to answer that question with an emphatic “Of course it is!” But I’m also inclined to ask: What else is this song? Is it roots music? Is it folk? Blues? Yes, yes, and yes. That chorus is powerful in its simplicity, and it’s not hard to imagine Doc Watson singing those lines or Geechie Wiley intoning that sentiment mysteriously from some lost B-side, accompanied by a century of acetate scratches and surface noise. Almost accidentally existential, the chorus speaks to an unnamed American melancholy, and it can mean anything you want it to mean and be anything you want it to be. – Stephen Deusner

Roots Music Don’t Need No Man

No, like literally. After 2019 we can definitively say that roots music as a whole does not need any men. From the first albums of the year (say, Maya de Vitry’s Adaptations or Mary Bragg’s Violets as Camouflage), followed by two indomitable women of the Grammys (Kacey Musgraves and Brandi Carlile), then two universally regarded supergroups (Our Native Daughters, the Highwomen), the resurgence of true legends (like Reba McEntire’s Stronger Than the Truth and Tanya Tucker’s While I’m Livin’), to a Newport Folk Fest collaboration that combined nearly all of our favorites, this year in Americana, bluegrass, old-time, and folk has been defined by women. There were pickers (Molly Tuttle, Nora Brown, Gina Furtado), there were scholars (Allison de Groot & Tatiana Hargreaves, Our Native Daughters), there were poets (Caroline Spence, Jamie Drake) — repeatedly this year I found myself in musical spaces that, if all of the men were subtracted, I would still want for nothing. #GiveWomenAmericana – Justin Hiltner

Yola’s Meteoric Rise

Co-write sessions and frontwoman-for-hire gigs aptly prepared Yola for the non-stop successes she’s had in 2019, from sharing stages with childhood heroes Mavis Staples and Dolly Parton to nabbing a whopping four Grammy nominations, including a coveted Best New Artist nod. Kicking off the whirlwind year was her Dan Auerbach-produced debut solo album, Walk Through Fire, a beginning-to-end stunner and a sure sign that Yola’s star power will only continue to rise. The ample steel guitar on “Rock Me Gently,” the countrypolitan charm of “Ride Out in the Country,” and the buoyant old-school soul of a new bonus track “I Don’t Wanna Lie” show off an eclectic roster of influences and a striking vocal range. But the album standout might be its only number written solely by Yola, “It Ain’t Easier,” a slow-burner with a hell of a bridge that pays tribute to the hard work behind even the greatest of loves. On the stage, in the studio, and in everything she does, Yola is putting in the work — and we can’t wait to see what 2020 holds. – Dacey Orr

Be Together: Newport Folk Fest 2019 in Photographs

Posted on by Justin Hiltner

Newport Folk Festival has always played host to singular, incomparable, once-in-a-lifetime musical moments. As you read this you can almost certainly think of at least a handful of examples, right off the top of your head. This year carried on that tradition and then some, displaying absolute magic across the festival’s four stages over the course of the weekend. Too many headline-worthy moments were sprinkled throughout, but BGS photographer Daniel Jackson was on hand to capture this folk and roots lightning in a bottle — from the performance debut of super supergroup The Highwomen to celebrating 80 years of Mavis Staples to surprise guests that make being green and looking cheap seem easy and effortless.

Perhaps the most meaningful take away from the festival, though, was not its star-studded stages, but its mantra — a timely reminder in this particular global moment: Be present. Be kind. Be open. Be together. Folk music, in all of its forms, carves out just such a space to allow for this togetherness. See it for yourself in these photographs from Newport Folk Fest 2019.

All photos: Daniel Jackson

BGS 5+5: Gillian Nicola

Posted on by Editor

Artist: Gillian Nicola
Hometown: Hamilton, Ontario, Canada
Latest album: Dried Flowers
Personal nicknames (or rejected band names): Ginny, Giggy, Giggz

Which artist has influenced you the most … and how?

This is a really tough question for me to pin down, because I am influenced by so many people. Kathleen Edwards is probably my most influential songwriter. I love her storytelling and how easily she can float between fragility and strength. She was one of the first Americana/Canadiana artists I started listening to and I think her music very much shaped the way I think about songwriting. I am also very influenced by genre-fusing artists like Joni Mitchell and Kacey Musgraves.

What’s your favorite memory from being on stage?

Last year, I performed a small house concert in cottage country in Ontario. We performed the concert on a dock and it was a very beautiful, intimate concert — with a nice summer breeze as the sun was setting. That on its own was magical enough. What I didn’t know at first was that while we were playing, boats were pulling up to watch from the lake. It was such a perfect Canadian scene and I will remember that one forever.

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

I don’t remember this one too clearly, but I’m often told this story by my family. When I was about 4, I was at a family friend’s birthday. In a party mostly full of boys who were playing sports and racing around the room, I took out a chair, sat down, and insisted that everybody stop what they were doing, because I was “going to sing for them now.” Music has always been a part of me — it’s not a firm memory, but rather, an inseparable part of who I am.

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

I think open space and the atmosphere of nighttime is a strong part of my work. I sing about the night a fair bit on my new album (“Night Comes to Call” and “Moonshine”) and write the most during the night. There’s also been a lot of influence from water, mostly in terms of writing about space and distance, and how well that’s reflected through bodies of water.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I have a very strict policy of never revealing who a song is about and whether or not it’s a personal anecdote or about someone else. Many of my closest friends don’t know who or what I am singing about (though I’m sure many could take a stab at it) and I prefer to keep it private that way. The only song that I’ve written where I explicitly talk about who the character is on “Across the Sea” off of Dried Flowers.

I wrote this song about one of my best friends who moved to London, England, a few years ago. He is the first person I send new songs to and despite the distance, we have remained very close. It was really nice to be able to write a love song for a friend, instead of from a romantic angle. Other than that, everyone will just have to make their own assumptions, which they probably would do anyways even if I confirmed or denied anything.

Photo credit: Jen Squires

Americana Honors & Awards 2019 Nominees Revealed

Posted on by Editor

Lori McKenna, John Prine, The War and Treaty, and Yola are among the artists nominated in multiple categories for the 18th annual Americana Honors & Awards, to be held on September 11 in Nashville.

Meanwhile, Dave Cobb produced three of the four albums in the Album of the Year category. In addition, Rhiannon Gidden received nominations for Artist of the Year, while her ensemble Our Native Daughters earned a Duo/Group of the Year nod.

A full list of categories and nominees for the Americana Music Association’s 18th annual Americana Honors & Awards is below:

ALBUM OF THE YEAR:
To the Sunset, Amanda Shires, produced by Dave Cobb
The Tree, Lori McKenna, produced by Dave Cobb
The Tree of Forgiveness, John Prine, produced by Dave Cobb
Walk Through Fire, Yola, produced by Dan Auerbach

ARTIST OF THE YEAR:
Brandi Carlile
Rhiannon Giddens
Kacey Musgraves
Mavis Staples

DUO/GROUP OF THE YEAR:
I’m With Her
Our Native Daughters
Tedeschi Trucks Band
The War and Treaty

EMERGING ACT OF THE YEAR:
Jade Bird
J.S. Ondara
Erin Rae
The War and Treaty
Yola

INSTRUMENTALIST OF THE YEAR:
Chris Eldridge
Eamon McLoughlin
Chris Powell
Michael Rinne

SONG OF THE YEAR:
“By Degrees,” Mark Erelli, Rosanne Cash, Sheryl Crow, Lori McKenna, Anais Mitchell & Josh Ritter, written by Mark Erelli
“Mockingbird,” Ruston Kelly, written by Ruston Kelly
“People Get Old,” Lori McKenna, written by Lori McKenna
“Summer’s End,” John Prine, written by Pat McLaughlin and John Prine

In addition, the Americana Music Association honors distinguished members of the music community with six member-voted annual awards and with Lifetime Achievement Awards, which will be announced leading up to the event. The Milk Carton Kids and Mavis Staples unveiled this year’s nominations in Nashville.

The winners of each category will be announced during the Americana Honors & Awards at the historic Ryman Auditorium. Americanafest runs from Sept. 10-15. Tickets for the Americana Honors & Awards are currently only available for purchase by Americanafest conference registrants.

Photo credit for John Prine: Danny Clinch

MIXTAPE: Jared & the Mill’s Overnight Driving Playlist

Posted on by Editor

“Overnight drives are the lifeblood of developing into a touring band. Leaving the comfort of street lights and neighborhoods and going into the void to get to the next town in time for soundcheck is as thrilling and mysterious as it is exhausting and daunting. It’s a ritual we share with bands all over the country and it teaches us to identify as the road dogs we are. It’s a powerful sympathy that unites us with others like us. Looking out at the nothingness and knowing there are many hours left without comfort is isolating and forces us to look inward.

“After conversation about the show earlier that night or what we miss back home diminishes, we’re left with the stars, the dashboard, and the radio to keep us company as we try to stay awake through the hypnotic rhythm of yellow lines passing beneath us. These are some of the songs that keep us going as we pass through the voids in between towns, we hope you enjoy.” — Jared & the Mill

Gregory Alan Isakov – “Stable Song”

The sonic qualities of this song are absolutely perfect for lonely nights away from home, and the lyrics inspire wanderlust just enough that I forget my homesickness and reinvigorate my excitement for adventure. It’s a godsend on long overnight drives.

James Taylor – “Sweet Baby James”

I was raised on ‘60s/’70s singer-songwriter music for a lot of my childhood, and this song brought my worlds together when I realized its subject matter covers the spirit of chasing a dream away from home and into the void. I come from a cowboying family and really love the idea of the traveling musician being the last of the cowboys.

–Jared Kolesar (vocals, acoustic guitar)

Feist – “Graveyard”
Feist’s “Graveyard” is a slow build that’s always worth it. Lyrically I feel like it dances around the topic of death, the dead, our memories, and our relation to our past, and our past relatives. Great for a long pondering drive. What a wonderful and beautiful chance it is, to be alive and experiencing anything.

Ennio Morricone – “The Good, the Bad and the Ugly – Main Title”

If this song doesn’t make you want to trip back to your previous life, strap on your shooting irons, and gallop down a dry arroyo to avenge your lovers death, then I don’t know what will.

–Michael Carter (banjo, mandolin)

Glen Campbell – “Wichita Lineman”

Glen is an amazing guitarist and the glittery arrangement of this great Jimmy Webb song always makes me long for home.

Jackson Browne – “These Days”

Sometimes thoughts of regret can creep in on those late-night drives. This song has an awesome way of acknowledging past mistakes while moving on from them.

–Larry Gast III (electric guitar)

The Wallflowers – “One Headlight”

Pretty sure this song that was scientifically created to make you feel like you’re in a driving montage in a movie. Maybe one of the best rhythm section grooves in the history of Americana to boot.

Kacey Musgraves – “Space Cowboy”

Kacey makes a stronger case for modern country music with every record she puts out. This is a perfect song for looking out the van window into the darkness of night and wondering why you are the way that you are.

–Chuck Morriss III (bass)

Fleet Foxes – “Helplessness Blues”

Lots of times on overnight drives you wonder if you have chosen the right path, or if a standard 9-5 could be more fulfilling. This song is a good way to consider the possibilities of that life, while the driving acoustic guitar keeps you alert at the wheel after an arduous day.

Robert Ellis – “Elephant”

I love the intricate plucking rhythms in this song, while the lyrics tackle relationship complications of being in a touring band.

Josh Morin (drums)

Photo credit: Cole Cameron

Kacey Musgraves is Country’s Queer Icon, but These Roots Artists are Actually Queer

Posted on by Justin Hiltner

Kacey Musgraves’ dominance during Sunday’s 61st Annual Grammy Awards has certainly solidified her place as country music’s newest queer icon. She offered simply stunning, near-perfect performances during the primetime broadcast and took home four trophies: Best Country Solo Performance, Best Country Song, Best Country Album, and one of the most prestigious awards of the night, Album of the Year. So-called “Gay Twitter” devolved into a tizzy as the show unfolded through the afternoon and evening with Musgraves decidedly at the top.

Said Album of the Year, Golden Hour, saw a critical mass of LGBTQ+ fans embracing Musgraves’ music, but her relationship to the broader gay community has been percolating since her debut album, especially given its overt “Follow Your Arrow” message. All combined, her eye for gratuitous-yet-effortless glamour, her acid-steeped, anime-meets-California-meets-trailer park aesthetics, and her singular, pop-influenced countrypolitan sounds are gay country manna from heaven. And it’s not just in the music. This year, she made an appearance as a guest judge on VH1’s RuPaul’s Drag Race All Stars and she routinely advocates for LGBTQ+ fans and their causes on her social media feeds.

To be sure, Musgraves fits the diva-idolized-by-gays criteria impeccably, but there’s a certain passive erasure that can occur when fans consciously or subconsciously become myopic in their praise of and infatuation with straight, cisgendered, female artists. It’s true that Musgraves has played an important role in expanding country music’s borders — musically, socially, and otherwise — but at the same time a burgeoning community of LGBTQ+ writers, artists, musicians, and creators are carving out their own space within country, Americana, folk, and even bluegrass and old-time.

This writer would never go so far as to suggest that one ought not squeal with delight at Musgraves’ fierce-as-fuck costumes, her tear-jerking solo performance of “Rainbow,” or her impossibly long and flowy Cher-callback, bump-it wig. Rather, if you love Kacey Musgraves and Golden Hour — because queer identities can be seen and reflected within her work, because she opens the door to the idea that country isn’t a forbidding place for these identities, and/or because she’s unabashed and unapologetic in her pursuit of these goals — you’re going to love these eleven badass, talented, inspirational, openly queer roots musicians, too.

Time to get stanning:

Brandi Carlile

After last night’s show this name should no longer need mentioning or introduction, as Carlile and her twin collaborators, Tim and Phil Hanseroth, absolutely brought down the Staples Center with one of the most moving performances of the night, the soaring, galvanizing, overtly queer, and now Grammy-winning masterpiece, “The Joke.” Carlile is openly gay, married, a mother of two daughters, and a tireless voice for representation and progress in Americana and its offshoot genres. If “The Joke” resonates with you (i.e. if it makes you sob uncontrollably, as it does this writer), check out “That Wasn’t Me,” “Hurricane,” and, of course, “The Story.”

Mary Gauthier

Gauthier’s latest, Rifles & Rosary Beads, was nominated for Best Folk Album this year and though it didn’t take home the prize, the album has received universal acclaim for its message of hope, empathy, and visibility for members of our armed services and the struggles they face during and after their service. Gauthier collaborated with veterans of the military in writing all of the record’s heart wrenching, honest, raw songs — which might seem counterintuitive given gays’ historically tenuous relationship with the military writ large. But Gauthier’s own life story, and the trials she’s faced, make her the perfect writer to prioritize empathy above all else in these songs.

Don’t sleep on the rest of her discography, though. The simple profundity of her writing is consistently awe-inspiring. Check out “Mercy Now” after you’ve given Rifles & Rosary Beads a listen.

Karen & the Sorrows

Jewish New York City native Karen Pittelman may seem like an unlikely frontwoman of a country band, especially when you factor in her past punk and queercore experiences, but it turns out she grew up bathed in the country compilation albums her father produced and sold for a living. Her voice recalls country mavens of bygone eras — it’s delicate yet powerful, with a pin-up girl quality that’s as subversive as it is natural. Also check out “Take Me for a Ride,” a Pittelman original that plays like a trad-country, queer version of Sam Hunt’s smash hit, “Body Like a Back Road,” but without the cheese.

Little Bandit

All of the hollerin’, barn-burning, hell-raising country soul of your favorite outlaw country rockers, but with lacy gay edges, Little Bandit (AKA Alex Caress, et. al.) is as honky-tonk as it gets. It’s a beautiful balancing act, presenting as an impossibly big-voiced, piano-smashing, charismatic frontman while singing male pronouns without hesitation. He leans into a beautifully paradoxical queerness that equally embraces diamonds, Waffle House allusions, platform shoes, and plain ol drinkin’. If you like it — and you will — check out “Diamonds,” too.

Sarah Shook & the Disarmers

Outspoken outlaws in a crop of alt-country artists who align with that eponymous country movement of the 70s, Sarah Shook & the Disarmers are a road-dogging band that would seemingly fit that mold, excepting Shook’s deliberate efforts to challenge the inherent heteronormativity of country music at every turn. For Shook it’s not necessarily about having a political message, as she put it in a 2018 interview with BGS, “I feel like doing what I’m doing — touring relentlessly, putting out records, and being unapologetically myself — is a very powerful and political maneuver as well… I’ve never been concerned about that because I feel it’s important to be honest and forthright as a human being, and as an artist and certainly lyrically as well.”

Indigo Girls

Both Amy Ray and Emily Saliers — the two halves that make up the absolutely iconic Indigo Girls — have released solo albums in the past year, both of which draw heavily on folk, Americana, and country influences. This should be no surprise to even the most casual IG fans. Banjos, mandolins, ukuleles, and so many other hallmarks of roots music have been integral to the Indigo Girls’ sound all along. But the songwriting, devastating and personal and oh so very real, is the real takeaway from both projects.

kd lang

This list might as well not exist if it excluded kd lang. Before her crossover to more mainstream genre designations, kd pretty much originated the role of badass queer making unimpeachably trad country music that refused to shy away from its queer touchpoints. Just take a look at this video! “Honky Tonk Angels,” sung with Loretta Lynn, Brenda Lee, Kitty Wells, and finally, kd in all of her butch, gender-bending, binary-eschewing glory — complete with a Minnie Pearl cameo! Country has always been (more than) a little queer, y’all.

Lavender Country

A man well, well ahead of his time, Patrick Haggerty (AKA Lavender Country), released his debut, self-titled album in 1973. It was a groundbreaking work, but the world, let alone the country music community and its commercial machine, were not ready for it. A Seattle DJ was fired for playing “Cryin’ These Cocksucking Tears” on the airwaves, only one thousand copies of the album were printed, and the band was relegated to performing exclusively at LGBTQ+ events and programs. But, despite being largely shut out of the industry, Haggerty and Lavender Country never ceased. In 2018, at the age of 74, Haggerty took part in AmericanaFest’s very first queer-focused showcase.

Amythyst Kiah

Amythyst Kiah’s booming, captivating voice, and her haunting, Southern gothic approach to Americana, bluegrass, and old-time set her apart from almost anyone else on the scene at this moment. Her reimagination of Dolly Parton’s magnum opus, “Jolene,” is a perfect example of how she carefully turns tradition on its ear. Based in East Tennessee herself, she draws on the rich musical heritage of the region, adding her own spin, creating space to allow herself to soar. And there’s plenty more soaring in her future, as she has opened shows for artists such as Rhiannon Giddens and Indigo Girls across the country and in Europe, and her collaboration album with Giddens, Allison Russell (Birds of Chicago), and Leyla McCalla, Songs of Our Native Daughters, is set to drop February 22.

Alynda Segarra

Singer/songwriter, activist, and Hurray for the Riff Raff frontwoman Alynda Segarra entrances with The Navigator, a concept project that focuses on the life and times of a fictitious Puerto Rican youth living in New York City. Themes of immigration, identity politics, displacement, disenfranchisement, and capitalistic overreach are threaded throughout the album, which offers its songs as tableaus of this girl’s — Navita’s — reality. It’s a stunning reminder that the intricacies and nuances that define us, and by doing so, separate us, are not so difficult for us to overcome with empathy and understanding. “Pa’lante!” (which translates to “forward!”) is the album’s battle cry, a song that turns utter despondency, grief, and a sore lack of humanity into a glimmer of hope.

Trixie Mattel

While almost all other drag queens who delve into the music scene release dance tracks, rap albums, or similar club-ready jams, Trixie Mattel (AKA Brian Firkus) draws upon her rural Wisconsin roots on two folk-adjacent, country-ish albums, Two Birds and One Stone. (Get it?) This isn’t just an opportunist attempt to punch up Trixie’s Dolly Parton-esque, country barbie aesthetic, she’s really got the chops. Not only is she a talented humorous-while-poignant songwriter, her technical skills on guitar and autoharp (yes, autoharp) are precisely honed to showcase her original music. This is no gimmick — though the Doves in Flight Gibson guitar and the custom, pink d’Aigle autoharp are jaw-droppingly perfect additions to Trixie’s lookbook.

 

MIXTAPE: Wood & Wire’s Grammy-Nominated Faves

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Welcome to our guide to The Grammys! You may (or may not) be surprised to learn that our musical tastes span far beyond the beautiful world of bluegrass music. Below you’ll find some of our favorite tracks from the Bluegrass category along with many other tracks from various nominees. This took us a while and was nearly impossible to narrow down. We could have easily made this list a lot longer. For now, enjoy some highlights and we’ll see you in L.A.! — Tony Kamel, Wood & Wire

(Editor’s Note: Wood & Wire’s North of Despair is nominated for a Grammy in the Best Bluegrass Album category.)

The Travelin’ McCourys – “Southbound”

We’ve been fortunate to get to play some shows with these guys over the last few years. They’re great people and awesome bluegrass pickers but this album showcases their versatility beyond just bluegrass while remaining undeniably true to the bluegrass style.

Kacey Musgraves – “Slow Burn”

Kacey received four nominations, including Album of the Year, for her album Golden Hour. Whether you consider it country or not it doesn’t really matter. From front to back the album is absolutely flawless.

Kendrick Lamar & SZA – “All the Stars”

This song is so catchy and so good you’ll want to start it over again once it ends. It also has landed four nominations including Record of the Year.

Brandi Carlile – “The Joke”

A poignant and powerful song by an incredible singer/songwriter. Don’t stop with this song because the entire album is amazing.

Zedd, Maren Morris & Grey – “The Middle”

Are you someone who doesn’t listen to pop songs that much? Forget about all of that and give this song a listen. It’s a perfect pop song.

Marcus Miller: “Trip Trap”

Bassist Marcus Miller is the Boss, the GOAT and a very bad boy. His unbelievable album Laid Black (up for best Contemporary Instrumental Album) is Marcus in peak form, start to finish. Don’t take our word for it, listen to the opening (live) track “Trip Trap.” You’ll find that Marcus is talking to you on that bass. Turn it up.

Mike Barnett: “Mary and the Soldier”

When we saw this title on Mike’s album, we were eager to listen to his interpretation. His fiddle playing is so tasteful, and his arrangement is so musical, we truly feel that the purity and passion of this traditional music has been understood, matched and advanced. And who better to sing than Tim O’Brien? Mike joins us in the Best Bluegrass Album category with his record, Portraits in Fiddles.

Margo Price (Feat. Willie Nelson) – “Learning to Lose”

By now, you all know who Margo Price is. It’s funny that she’s up for Best New Artist considering how long she’s been doing her thing–and what a wonderful thing it is. Willie Nelson is also up for a few and we figured it would be nice to share this beautiful song they recorded together, featuring a classic Willie guitar solo on his beloved classical guitar Trigger.

Julian Lage – “Splendor Riot”

Known for his guitar chops and background in jazz this album is truly unique. At times country or R&B it also sometimes sounds like a rockin’ indie album…Only instrumental.

Childish Gambino – “This is America”

The song alone is a monumental work and a powerful commentary on American society. It is also nominated for best music video for a good reason. Go watch the video.

Cedric Burnside – “Death Bell Blues”

Start to finish, this record is incredible. This guy has channeled some of the absolute greats in his delivery and recording style, including his father (blues drummer Calvin Jackson) and grandfather (the great R.L. Burnside). But make no mistake, Cedric has his own groove and own style. Benton County Relic is up for Best Traditional Blues Record and man it’s a doozie.

Special Consensus (w/ 10 String Symphony, Alison Brown, & John Hartford) – “Squirrel Hunters”

Greg Cahill and crew really crafted a gem of a record with Rivers & Roads. It’s chock full of some of the best playing we’ve heard. However, it’s hard to resist choosing this version of one of our favorite fiddle tunes, in which the band (plus our friends Rachel Baiman & Christian Sedlemeyer, as well as Alison Brown) built the recording around a previously unreleased track of our one of our favorite musicians of all time, John Hartford. Just awesome to hear it brought to life this way.

Sister Sadie – “Raleigh’s Ride”

Aside from being amazing singers, these ladies sure can pick. This is one kick-ass instrumental! We’re thrilled to share this category with them.

Los Texmaniacs – “Mexico Americano”

Shout out to some of our fellow Austinites. This heartfelt song speaks for itself. Their record Cruzando Brothers is up for Best Regional Mexican Music Album and it’s awesome.

Lady Gaga – “Shallow”

Not much to say here. We love Lady Gaga. Quite the vocal performance.

Brad Mehldau Trio – “De-Dah”

This trio has achieved acclaim in the jazz world and beyond for their compositions and performances. Though Brad himself is nominated for his solo on this song the band is jammin’ right there with him the entire time.

Punch Brothers – “All Ashore”

Of course Punch Brothers are amazing musicians but what’s more impressive is their limitless ability to take the bluegrass quintet to new realms.

Post Malone – “Psycho”

Post Malone grew up in Grapevine, Texas, and released his first major hit on SoundCloud. This is his second album which showcases his vast blending of musical styles and influences.

Others that we love: Mary Gauthier, Loretta Lynn, John Prine, Fantastic Negrito, Travis Scott, St. Vincent, Loretta Lynn, Leon Bridges, The Wood Brothers… so, so many more.

Kacey Musgraves, ‘Oh What a World’

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In these tense and fraught political times, the desire for country artists to become more outspoken and opinionated has started to reach a fever pitch: After Route 91, will they speak out about gun control? Will they respond when Trump stokes hate on Twitter or refuses to condemn white supremacy? Will they support equal rights and reinforce that love is love, no matter the gender of the lovers?

Kacey Musgraves has always been one of the few outliers who existed on Music Row without having to play by the rulebook of being politically neutral — particularly in the arena of human rights (and, of course, marijuana use). She praised equality on “Follow Your Arrow,” from her debut LP, Same Trailer, Different Park. The line that gets the most attention is “kiss lots of boys, or kiss lots of girls,” but the more simple phrase of “love who you love” is equally poignant. Inclusion has always been part of who she is and her process — a bit ironic, considering that her attitude toward inclusion is exactly what’s had her excluded from country radio.

Her third album, Golden Hour, has been discussed and deconstructed as being less inherently political or mischievous (though, overall, she’s rarely been explicitly partisan in terms of left or right) and more about love … specifically, her relationship with her husband Ruston Kelly. It’s filled with meditations on kindness and romance and self-worth, and what it means to be alive, and on what it might mean to die, too, and the infinitely depressing and unstoppable passage of time — particularly the difficulties in enjoying a moment while knowing that its about to inherently be gone forever.

But in 2018, under a Trump presidency, Golden Hour is actually new kind of political, and, along with the songs of May Your Kindness Remain, the new LP from Courtney Marie Andrews, presents a different breed of protest song: one where there’s protest in kindness, in the appreciation of beauty and a sense of being grateful about the world. “Oh What a World,” a superb work of gauzy modernist folk-pop that balances both vocoder and traditional country orchestration in uncanny ways, is perhaps the album’s best example. “Oh what a world, don’t want to leave,” she sings, “There’s all kinds of magic, it’s hard to believe.” They’re simple words, really, but they sting.

Musgraves proceeds to lists some various wonders, from neon fish to magic mushrooms, and then moves on to a simple reminder: “These are real things,” she sings softly. “These are real things.” Fake news, Twitter wars, social media profiles don’t actually reflect who we are at all. Here, Musgraves is doing something just as mischievous and political as she’s always done, but in different clothes. She’s reminding us all that life is short and the world is beautiful. It a simple idea, but one too often forgotten.

Love, beauty, kindness, appreciation … these are real things. And, these days, they’re resistance.