Tag: Langhorne Slim

MORGXN: Home Is Where Your Heart Hangs Its Hat

Posted on by Justin Hiltner

“I don’t know when I became an activist,” MORGXN admits. “I’m just a human being who sings from the heart, but my heart is very broken by the world that we are currently living in.”

The singer-songwriter lived in Los Angeles for 10 years before moving back home to Nashville in 2022. “The minute I came back to Nashville, I ran into a guy once. He was like, ‘I only see you at the Capitol singing,’” he recalls. “When I moved back, they were trying to ban drag queens. They were trying to ban women’s access to health care.”

Most recently, he took to the Tennessee State Capitol to protest bills against same-sex marriage. “This is how rights get tested: one state, one bill, one ‘exception,’ and suddenly the floor moves under all of us,” he wrote on Instagram.

“I don’t even think about it as activism. I think about it as humanity. We are more alike as human beings than the media, the news, and politicians would want you to believe,” he explains. “It breaks my heart. If you have listened to this album, there are songs about love and the human experience. The album is for anybody bold enough to live as who they are in the middle of the heartland.

“That is what I hope people get from this album. I hope they feel less alone in their activism… I wouldn’t even use the word activism. I hope they feel less alone in their humanity, period.”

On March 6, MORGXN released a deluxe edition of his album, HEARTLAND, and while it pulls from country music, he wouldn’t exactly label it as such. “I don’t care what genre you tell me it is. I care that I’m speaking something that is true to me, and that’s how I make music,” he says. “I don’t make music outside in.

“I make music inside out. I find what’s inside, and I try to bring it outside,” he continues. “And the heartland is a place that is normally not reserved for people like me and you. And yet, living in the heartland, I see that everyone belongs in the heartland. The heartland is a space for everybody, and I want to reclaim the heartland for everybody.”

Good Country hopped on a Zoom call with MORGXN a week before the album’s release and chatted about collaborations with Tenille Townes and Maggie Rose, the meaning of community, the political divide in country, and the hardest lessons he’s learned since coming out as gay at 19 years old.

What are some of your favorite lyrics on the album?

MORGXN: “GOD CODED” is maybe the most important song I’ve ever written, whether or not most people hear the song – it’s not a radio song. But it is probably the most important song I’ve ever ushered into being. I have no problem with god or religion. I have a huge problem when people use god and religion as a weapon of their hate.

“WILLOW” I wrote for my friend’s daughter who has cerebral palsy, so that she knows that she is a bright light. Already that song has inspired other people, which really means that she has inspired other people. It’s hard for me to choose… “MIGRATION” is about losing my dog. I don’t have a favorite lyric – it’s like choosing a child. [Laughs]

Okay, here’s my funniest favorite line, “EVERGREENS.” The first line: “Tell me your sign/ And I’ll tell you mine/ And I’ll tell you if we’ll be okay.” I think that’s funny, because if I’m dating somebody, I will be like, “What is your sign?” And I’m going to decide right away if we’re even going to be compatible, which is maybe absolutely chaotic, but I love it.

With the deluxe edition of HEARTLAND you have several collaborators, including Tenille Townes, Ruby Amanfu, and Maggie Rose. How did you choose who you wanted, and what did they bring to the table?

Collaboration is like water to me. You know, I have many liquids here on my table. I am a gay man, so I have tons of liquid everywhere around – iced coffee is always a yes. Collaboration is also like breathing to me. When I think about making music, “the bible” to me is Willie Nelson and “On the Road Again.” The life I love is making music with my friends, and I can’t wait to get on the road again. That is how I think about music.

When I moved to Nashville, there were voices that I saw popping up that were saying really important things, like [Tenille Townes’] “Jersey on the Wall.” They were saying messages that really resonated with me inside of a space that is still not reserved for people like me.

I came here in 2022, which was 11 years after this manager told me I would never make it in music as an openly gay person. In Nashville, there was a thing bubbling up, but it was like you were reserved for this sideshow experience. You can be gay, but only during June, only when there’s a tent for you to stand under. That’s not how I believe in love or life or humanity. I reached out to several people wanting to create. Truth be told, I have people in my DMs who are massive artists, who love what I’m doing, but who can’t align with who I am because it will hurt their fan base. That’s insane. That’s 2026 for you.

But artists like Tenille Townes, Maggie Rose, Ruby Amanfu, Katie Pruitt – who’s obviously a queer beacon – and Langhorne Slim, they were people who were brave enough to collaborate outside of what is the norm for them. I’m really honored that they’re helping me create this version of the heartland where everyone gets to live.

With Tenille, “HEAVEN KNOWS” was the first song we ever wrote together. It was actually the day we met. The song has this sort of inner child: Why do we even keep trying in a world that feels so hard? Why do you love when your heart has been broken so many times? Why do you keep making music when it feels like the music industry is as crazy as ever? And why do you keep being a good person in a world that is hell-bent on trying to make you feel like you are an abomination? I try because I care. I love so deeply, you know.

Having grown up in Nashville, what did community mean to you then, before you came out at 19?

The one thing I’ll say about being queer in America – maybe anywhere in the world – is you’re forced to create community, and sometimes family, when that is not a given for you. I was very lucky that my family was… more confused and scared than they were not accepting. But my husband’s journey with his community – he grew up evangelical and his community kicked him out. He was going to be a pastor, going to seminary, and once he came out, he was kicked out of the church. I didn’t have that experience … but family to me widened the moment I came out. The idea that family was not just the people you were born into, but it is the people and friends and lovers who you collect along the way that were missing for me as a kid. Growing up here, I had a hard time fitting in, because everything I did stood out.

I played the Bluebird [Cafe] last night with Molly Tuttle, Maggie Rose, Liz Longley, and Ketch [Secor] from Old Crow Medicine Show. I’m sitting there singing “MY REVIVAL” – and I’ll cry thinking about this, but it’s like I’m sitting there singing [that song]. My husband is over here and the whole room is singing along with me. I have painted nails, singing my song at the Bluebird with legends. I’m the co-chair of the diversity committee for the Recording Academy in the Nashville chapter. I don’t know if I’ve “made it,” because I don’t think making it is even like the goal here. I want a career and a life, not a moment in time. That’s “making it” to me. For the closeted gay boy who was scared to ever reveal who he truly is, that’s my revival. There’s retribution. There’s deep healing, and there’s tons of gratitude, as well.

The divide in country music right now between people who are willing to sacrifice a fan base and those who aren’t is always widening. It’s cool to see who has come forward to make their voices heard.

Country music is three chords and the truth. That’s still the bible, but it has lost its way. There is a real ricochet happening where people are afraid to be truthful, because truth can sear and truth can be very quiet but very powerful. Nashville is at a breaking point. It’s a small town. We are growing by leaps and bounds. There’s a real deciding line between: do we make this a city for everybody or do we make this a city for the select few? That’s the same for country music, folk, Americana, and gospel.

“HEARTLAND,” the song, definitely pulls on gospel, folk, Americana, and pop, for sure, but it also pulls on country because it’s a story. I thought I’d see my name in lights. I thought that my life would be this flashy thing. It’s not. I fell in love with a man, and we have a farm, and we’re building a life together. That’s love to me. It’s a story. It’s my story. It’s real. So, it’s country; it’s folk; it’s Americana; it’s gospel. Now, will any of those genres accept me? I have no idea.

But the people on my album have accepted me for who I am and love me for who I am. And that, I think, is what the heartland is all about. You know, love thy neighbor. What happened to that?

You turn 39 this year, which happens to be 20 years since you came out. Was there any significance in releasing HEARTLAND (Deluxe Version) this year?

It’s funny. Titles of an album are like mystery buckets. I actually have a title for my next album and I’m so excited about it. Prince once said that he’s like two albums ahead of whatever’s commercially released. And I love that for him. I’m one album ahead of what is commercially released. Album titles visit me like a fever dream. Even HEARTLAND – the song, I gotta call out Josh Dorr, the co-writer on that song, who had a number one with Blake Shelton this year with “Texas.” He’s a legitimate country songwriter. Not even legitimate country songwriters would take a session with somebody like me and it takes guts to do that.

I haven’t thought about how it’s 20 years since I came out, but it makes a lot of sense. I have a song called “home.” When people were like, “Where is home?” I would be like, “Well, anywhere but Nashville, Tennessee, because that place would never accept a person like me.” Now, to be making a life here, building a farm, hosting Pride on our farm, there is something beautiful in that. It may have taken 20 years, but I’m home. It’s beautiful. I hadn’t really thought about time like that.

When we wrote “HEARTLAND,” I wrote it on the piano that I grew up on. There’s always ghosts in the bones of old instruments, but it’s safe where my heart lands. It’s the heartland, but it’s also where my heart gets to land safely. That’s the kind of love and belonging I wish for everybody. I’m not somebody who believes that you have to be in a relationship to be happy, or that you have to be married to be happy. That’s bullshit. That’s heteronormative, capitalist nonsense. You can find belonging amongst community, friends, and lovers. Does your heart have a place to hang its hat? That’s home.

What have been the hardest lessons you’ve learned over two decades?

The thing that comes up in my head is: it’s not over ‘til the fat lady sings. I’ve been a fat lady so… [Laughs] It will fall apart, and that’s okay. The true story is what happens when you pick yourself back up and keep going.

I’m far less interested in talking to somebody who’s never moved across the country once. I can’t really relate to you. If you’ve never sold all your belongings and moved somewhere at least twice, we might not have a lot of similar things to relate to. It doesn’t have to be grand moves. My husband has lived in a bunch of places in Nashville, has not left Nashville, but he’s lived a lot of life. You have to have lost everything once, probably twice, and hopefully that’s it. But it’s really about how you pick yourself back up at the bottom, and keep trying again.

Whether you think it’s good or not, it won’t last, and that’s okay. There’s beauty and grace in that. I have a friend, Kristen Griffith[-VanderYacht], who’s a [floral designer] – I think he’s now in Detroit – and he’s gone through a lot. He was on the Drew Barrymore Show, and the guest host was asking, “How do you keep flowers alive for longer?” Kristen grabbed his hand and he was like, “Here’s the thing, lean in close, I want you to hear this: they’re not meant to last. They’re meant to be beautiful for the moment that they’re there, and you’re meant to appreciate them in all their glory, and then you’re meant to let it go.”

That is really hard. That is maybe [informing] some of the themes about my next album, actually. It’s loving and letting go. Life is not linear. It’s not meant to be. Cherish all of the beauty, because nothing lasts forever. And there’s a ton of freedom in that sentence.

Photo Credit: Gabriel Starner

Langhorne Slim Takes Chances and Rocks Out

Posted on by Justin Hiltner

For more than 20 years, Langhorne Slim’s folk-leaning songs and rebellious nature have captivated crowds across the world. That trend continues on his ninth studio album, The Dreamin’ Kind, which takes a page out of Dolly Parton’s book and pivots toward rock ‘n’ roll in what’s arguably his most eye-opening collection of songs to date.

Out January 16 on Dualtone, the album is something Slim had long desired to make, finally coming to fruition after he had the opportunity to open for Greta Van Fleet at a show in Connecticut in 2021. The moment came mere months after having dropped what would be his debut on the Billboard Hot 200, Strawberry Mansion. But according to Greta’s bassist Sam F. Kiszka – who produced The Dreamin’ Kind – that wasn’t the band’s introduction to Slim. They’d been fans of his long before.

“I remember hearing Lost at Last, Volume 1 for the first time and it absolutely resonated with me,” Kiszka said in a press release. “[Slim] has the conviction of a hundred singers. He puts his entire body and soul into it. I listen to ‘The Way We Move’ and I think, ‘That’s a rock ‘n’ roll song, right there.’ Rock ‘n’ roll isn’t a sound, necessarily. It’s an energy, and he’s got it.”

Although the production takes on a strong Greta Van Fleet flavor on songs like “Haunted Man” and “Loyalty,” The Dreamin’ Kind also mixes in Slim’s folk-fueled identity as well, painting a sonic canvas that shows both where he’s come from and where he’s headed. Others, like “Strange Companion” and “Rickety Ol’ Bridge,” bring stylings together, with fuzzed out guitar licks and backbeats that portray a more folk-oriented stomp and clap mentality.

Ahead of the holiday season and a weekend run of shows opening for comedian Jordan Klepper (more on that below), Slim spoke with BGS about what inspired his foray into rock ‘n’ roll, how a letter inspired one of its songs, and how working with Greta Van Fleet’s Sam Kiszka and Daniel Wagner pushed him creatively.

What was your motivation for making the pivot to rock ‘n’ roll this deep into your career?

Langhorne Slim: It’s been a dream of mine for a long time. Some of the songs are definitely more of a departure from what I’ve previously done than others, but I don’t think that’ll come as a surprise to people who’ve been following me for a while now. Our live performances have always taken a page out of punk rock and rock ‘n’ roll, in addition to soul and folk music – genres be damned. Regardless of what it sounds like, most people just want to be moved by music.

When I first got started, I was playing a certain way, then a record deal followed and before you know it you’re forming an identity. But I eventually reached a point where I still loved my folky songs, but if I met new people or a fresh opportunity came about that would push me creatively, then let’s go for it! As I’ve grown older and built a family I think more and more about the identity I’ve built and what else is there when I start peeling back those layers – what else do I want to express? How might I want to use my voice or the instrument I play differently?

Rock ‘n’ roll was the natural progression of that, so when I became friends with Sam and Daniel from Greta Van Fleet, I think they saw that in me. From then on there was no pressure, we were just in it to have fun.

So this is something you’ve been wanting for a while, you just needed to find the right people to work with for everything to fall into place?

I’d been talking to a couple friends and people I admire about how when I made [2005’s When The Sun’s Gone Down] I wanted something at the crossroads of bluegrass and punk rock, like the Violent Femmes. I didn’t necessarily want to copy their sound, I just felt a kindred thing with their influences. So with [The Dreamin’ Kind], in my mind I was going for a garage rock meets gospel thing. I wouldn’t say that’s what the record actually became, but how I collaborated with Sam and everyone else for this record was so different from how I’ve worked in the past.

I liken it to a pitcher in baseball. As artists we sometimes focus too much on our strengths or “strong arm,” but I’ve only got so much time to live and I’m hungry to create. Before music my first thought ever about creating something had to do with building robots. With that in mind, the possibilities are endless when you think about all the people you could potentially collaborate with and the different creative bursts that could come from each.

That reminds me of something Ketch Secor told me in an interview a few months ago – “I am a container of multitudes.” It sounds like you’re the same way?

Ketch has been doing Old Crow for even longer than I’ve done my thing. I’m not somebody that says I don’t care if it lands, because I do, but most importantly I want my longtime supporters who’ve been so good to me to connect with this record. I’m not the first songwriter or creative person to say you can’t do the same stuff over and over, and I won’t be the last. At the end of the day, the power of music comes from the wonder and awe it provides us, so if what I’m doing doesn’t give me that same feeling then I’m not doing my job for the people, the energy and whatever else provides groove, melody and beauty in the form of music.

Another way you’ve pushed yourself outside your comfort zone lately has been on your gigs opening up shows for comedian Jordan Klepper. How did that connection come about and what have you learned from playing to a comedy show crowd?

I first met Jordan because my best friend Joel is a cameraman for The Daily Show. Jordan went on to officiate his wedding and through that Joel turned him onto my music. From there, we hit it off at the wedding and about a year later I got an email from Jordan about coming out and opening a few shows for him, which I was thrilled to do because, like you said, it’s out of my comfort zone. I knew there’d be a lot of people in the crowd not familiar with who I was.

That mix of excitement and fear reminds me of early in my career living in New York City, when I became friends with Eugene Mirman, a well-known comedian best known right now for his work as Gene Belcher on Bob’s Burgers. He had a comedy show on the Lower East Side that he’d invite me to be a regular musical guest on, so I did have experience playing comedy shows where nobody knew me. [Laughs] At one point Eugene invited me to play on a comedy tour that included him and a few other comedians who went on to make it big, like David Cross. They’d do their sets then I’d come out with my little hat and funny outfit and the entire crowd would start laughing thinking they were in for some musical comedy, but I was just playing my regular songs.

It was a tough place to break through at, but it taught me a lot. Jordan’s crowd is a little different though, because there’s people in the audience who actually know who I am, which is nice. I also try to cater the songs I play to his show to make them more topically relevant. It seems to be resonating so far – the reception I’ve received at the shows has been wonderful and beyond expectation.

It’s such a treat being on tour with a comedian, because when I’m on the road with another band I’ve found that I can’t watch them without analyzing and thinking how I could pull off what they’re doing. It’s hard to not put oneself in it, whereas watching a comedian it’s a lot easier to sit back, because it’s the same monologue and jokes. It’s how they’ve mastered the art of timing to add emphasis and help the joke land. It’s really fun to observe because I’ll just be sitting there laughing rather than wondering how I’d tell that same joke since it’s not the art form I do.

Sounds like a dream come true, which is also the name of one of the album’s songs. Is that a tune about manifesting the vision you have for your future, or are you unpacking something entirely different there?

You’re spot on. I wrote a letter to somebody, because my partner and I were thinking of moving out of the city and getting this country property, but it was way more than we could afford – I didn’t even know if they were gonna let our raggedy butts in there to take a look at it! So I wrote a letter to this woman and at the end I wrote, “It might be a long shot, but without a dream you can’t have a dream come true,” which also pulls a bit from Hammerstein’s “Happy Talk” (“If you don’t have a dream/ How you gonna have a dream come true?”).

On more general terms, it’s a song about casting aside your doubters and anything else in life that tells us to conform or dims the fire burning within us.

Like you said, you might not have gotten the house, but at least you got the song!

I look back now and there’s songs where I may not have gotten the girl (or in this case, house), but I did get the song, and that’s lasted longer than any relationship probably would. [Laughs]

Songs are like little miracles in that way.

While “Dream Come True” is all about looking ahead, you seem to be looking back on “Stealing Time” – which I’ve interpreted as a song about cherishing your moments with others and not taking them for granted. Is that the case?

There’s some reminiscing I’m doing on that one, too. Being a fairly new dad and sober man, I’ve noticed that being present and giving myself to and receiving somebody else’s time or energy is so rewarding. It’s so easy nowadays to run from our emotions and thoughts, which I used to do a lot with alcohol and drugs and all of us do now with our phones. There’s so many different ways that manifests and plays in my mind.

That song is also a phenomenon of love and infatuation and how one’s heart can be so on fire for somebody that closes theirs off to you. It’s like [Gotye’s] song “Somebody That I Used To Know” in that way.

Another song I wanted to ask about is “Haunted Man,” which to me comes off as the most Greta Van Fleet-sounding track on the album. What was the process for bringing it to life?

That song is the most collaborative that I did with those boys. It was also the tune that I fought Sam on the most, as far as not thinking it’d be a good fit [for the album]. Even after recording it, I didn’t think we’d include it as one of the dozen tracks, but Sam insisted I sit on it. Once all the songs were done I remember walking around my neighborhood pushing my son Silver in his stroller, listening to the songs, and making a mixtape of what stuff went well together. It was then when my perspective on the song changed and we decided to include it. Since then, the song has grown to become one of the most-liked tracks among our friends, which made me both happy and sad at first due to my ego. It’s easily the most different song on the record from what anybody’s heard me do before.

You just mentioned not thinking “Haunted Man” would make the cut onto the album. Does that mean you have extra material recorded we might hear more of sometime down the road?

For the basic tracks we spent nearly three weeks in the studio, with the first half with the Greta boys – me, Sam, Daniel, my dear friend Casey McAllister [who plays keys in my band], and multi-instrumentalist Cameron Neal [who mainly played electric guitar]. That portion was supposed to be the “rock” record, then for the second half I brought in my longtime band, The Law, to record a bunch of different stuff.

The plan was for them to be two separate records, but we wound up mix-matching a bit. Because of that, we have a bunch of leftover stuff we captured that I hope will be on my next record.

What has the experience of bringing this rock ‘n’ roll record to life taught you about yourself?

Do what scares you. See what else is there and burning inside you, don’t be afraid to take chances and rock out. I just want to keep making music that moves me and inspires other people. I never want to feel like I’m stagnant or compromising parts of myself.

I want to kiss the spirits in the way I feel they’ve kissed me so that I can give my all to the music.

Photo Credit: Kate LaMendola

Our Most Memorable Musical Moments of 2024

Posted on by Justin Hiltner

Music is all about moments. It’s a fact we tend to lose sight of, forest for the trees, despite the fact that music can only exist in this, the present moment. Each pluck of a string, each breath of a voice, each lick, hook, and improvisation – no matter how practiced or free – is but a mere moment.

As we all rewind the calendar year to relive the last twelve months and all of the turmoils and triumphs they held, we asked our BGS contributors to reflect on which musical moments they experienced this year that were most memorable, most moving, and most transportive. Which musical moment would you return to, if you could? Which musical moment returns to you, again and again and again?

Our year-end lists are not intended to center on superlatives or “bests;” we don’t so much care about what “should” or “shouldn’t” land in one of these collections. Curation of this sort is never truly objective, so why pretend it is? Instead, we hope our writers and our readers will be able to demonstrate and appreciate that music is never about measuring or comparison, metrics or accomplishments, accolades or awards. Music is about moments – and about wholly inhabiting those moments, together.

Below, our first-rate writers, thinkers, and contributors share the musical moments from 2024 that impacted them most. From Beyoncé galloping through our hearts with Cowboy Carter to intimate, people-first festivals like Laurel Cove Music Festival in Kentucky. There’s also music from harlequin creators like American Patchwork Quartet, Kaia Kater, and Rhiannon Giddens alongside memories of the late Dexter Romweber and the strength of mutual aid and community solidarity in Western North Carolina post-Hurricane Helene.

2024 held so many intricate, ineffable, one-of-a-kind moments, good, bad, ugly, and gorgeous. We hope you’ll take a second to recall your own most memorable musical moments of the year while we share ours – and while we all look forward to many more in the year to come.

August 20, 2024 – Chris Acker and Dylan Earl at Folk i Storgata, Oslo, Norway

Photo by Dana Yewbank taken at a show by Chris Acker and Dylan Earl at Folk i Storgata in Norway.

While this doesn’t quite fit any stereotypes about Scandinavia, black metal, or Viking-inspired neo-folk, Norway has a thriving Americana music scene that welcomes and celebrates even lesser-known American folk and country artists. Chris Acker and Dylan Earl are two of these undersung artists, both represented by Nick Shoulders’ record label Gar Hole Records out of Arkansas. This past summer, Acker, Earl, and I all coincidentally ended up in Oslo, Norway, at the same time, where the pair put on an intimate, inspiring, and tightly-packed show for a crowd of about 30 people in a tiny bar with pink walls. They bantered with the audience, backed each other up on a few songs, and even spontaneously formed an unrehearsed superband with the bar owner and their Norwegian opener – and they were damn good. Acker and Earl are both deeply thoughtful musicians who use their power and presence as men on stage to question the status quo of “good ol’ boy” country and stoic male musicality. Their candidness and subversive humor drew the room together that night with a sense of camaraderie, safety, and concentrated joy. – Dana Yewbank

Act Now! A Paperface Zine Benefit Tape for the Palestine Children’s Relief Fund

A harrowing statistic from the UN agency for Palestinian refugees (UNRWA) reports that as of March 2024, the number of children killed in Gaza over a mere five months (October 2023 to February 2024) surpassed the number of children killed in global conflict over the four years prior, combined (2019-2022). As of December 2024, we are a year and two months into the ceaseless genocide being waged against the innocent civilians of Palestine and the horrific violence only continues.

I salute everyone who has waged resistance against genocidal powers, be it contacting senators, galvanizing communities to action, participating in rallies, or, in this instance, artists and musicians who have used their platform as an act of protest. Paperface Zine, a blog that writes and interviews an eclectic mix of underground artists, spearheaded this collection of tunes in an effort to express solidarity with Palestine and raise funds towards the Palestine Children’s Relief Fund. This Benefit Tape is a shining example of how most any skill can be mobilized to support greater communities; creativity and care forever go hand in hand. – Oriana Mack

American Patchwork Quartet, American Patchwork Quartet

American Patchwork Quartet have pieced together one of the best albums this year. Don’t take our word for it: they’ve been nominated for a GRAMMY for Best Folk Album. That’s the moment we want to celebrate. With all due respect to the other nominees, it’s exciting to see a brand new project get recognized so quickly – particularly one that colors outside the lines like APQ. The quartet add a number of global influences to traditional American songs: a guitar solo here, a sitar there, and a fine sprinkling of tabla make the quartet live up to their name. Now, especially, we need statements that American traditions were born of a tapestry of European, African, and Indigenous cultures that continue to be built upon by everyone who chooses to make this place a part of their own quilts. – Rachel Cholst

September 26, 2024 – Asheville, North Carolina’s Music Scene and Hurricane Helene

On the night of September 26, Hurricane Helene ravaged Western North Carolina with unprecedented rainfall and flooding. What resulted was a tight-knit area completely decimated and utterly distraught by the destruction of numerous communities. The current death toll for the state sits at 103, with many others still missing.

Beyond the cultural, economic, and unbelievable physical devastation to Asheville and surrounding towns, the city’s vibrant and world-renowned live music scene was brought to its knees – a radio silence that lasted several weeks, with numerous unknowns lingering for certain storied venues. But, with great resolve and a steadfast attitude of helping your friends and neighbors, the vast music community in Asheville and greater WNC came together with countless benefit concerts and fundraiser album compilations (Caverns of Gold, Cardinals at the Window) — an effort that remains at the forefront of the region’s recovery that will take years, if not decades, to return to normalcy. – Garret K. Woodward

Beyoncé, “Jolene”

Country music is for everyone and there is something fascinating about an album which ends up in the territory between categories. Beyoncé is a great singer, and has been flirting with country for a very long time; she has the chops to sing “Jolene” better than Dolly. So, when she sings that she’s “still a Creole banjee bitch from Louisiana,” she is making a series of arguments: that country exists in response songs; that the other woman should be given the mic; that the landscape mirrors the territory; and that the gatekeepers should be torn down, like the walls of Jericho. – Steacy Easton

February 4, 2024 – Tracy Chapman & Luke Combs, “Fast Car”

Luke Combs released his version of Tracy Chapman’s “Fast Car” in 2023, but it was his performance with Chapman on the 2024 GRAMMY Awards primetime telecast that rocketed the song from country radio back into the mainstream zeitgeist. Where Combs’s recording highlighted the song’s working-class vibes, seeing him perform it alongside its (Black, queer, female) writer gave the song’s legacy even greater heft. “Fast Car” was always a song about women carrying more weight than any single human can; about the urgent, nagging desire to flee toxic cycles; about how fleeting freedom can sometimes feel. For better or worse, all these things became emblematic of 2024. – Kim Ruehl

Rhiannon Giddens

You would be hard-pressed to cite anyone in any genre who had more memorable musical moments in 2024 than the superb vocalist, composer, and instrumentalist Rhiannon Giddens. Her writing brilliance was showcased through the Silkroad Ensemble group and project. Her arrangements of folk songs were part of their landmark American Railroad tour program along with commissioned pieces from jazz artist Cécile McLorin Salvant and film composer Michael Abels, as well as fellow Silkroad artists Wu Man, Layale Chaker, Haruka Fujii, and Maeve Gilchrist. Giddens was featured on banjo and viola on the hit single “Texas Hold ‘Em,” part of Beyoncé’s huge Cowboy Carter LP. Giddens added another GRAMMY nomination for Best American Roots Performance with “The Ballad of Sally Anne” from the excellent compilation My Black Country: The Songs of Alice Randall, too. Hard to believe there’s any ground left to cover for the MacArthur Genius and Pulitzer Prize winner, but Rhiannon Giddens continues to stun and surprise audiences with everything she does. – Ron Wynn

November 14, 2024 – Zachariah Hickman’s Power Outage Party! at Club Passim, Cambridge, MA

Not sure how bassist and music director Zachariah Hickman (Josh Ritter, Ray Lamontagne, Barnstar!) pulls off his many acts of mischief, but the Power Outage Party! shows are the most creative, beautiful, and emotional musical experiences around. Presented in mid-November by Club Passim, the shows featured a collective of musicians (including members of Della Mae and Session Americana) and guests (this year including Taylor Ashton, Mark Erelli, and Kris Delmhorst) performing without any power in the historic 100-seat club in Harvard Square. The band is lit with camping lanterns and tea lights. The audience is shoehorned in so tight (I was nearly sitting on the cello players’ lap) that you can’t help but feel a part of a very special community. Every time I go, I carry the experience and inspiration with me as we all work through the darkest part of the year. – Cindy Howes

February 24, 2024 – Kaia Kater, “In Montreal” at Folk Alliance International

One of my favorite and most memorable musical moments of the year occurred at Folk Alliance International, where Kaia Kater and her band performed tracks from her brand new album, Strange Medicine, at BGS’s private showcase. In a small hotel room with a handful of audience members, Kater began “In Montreal” with her looping, cyclical, trance-like clawhammer banjo groove. I was immediately transported, immediately grounded, gently – and forcibly – brought to the moment. I still experience the same visceral sensation each time I hear this track begin, the old-time banjo hook leaving and rejoining the beat deliciously, sketching out an expansive pocket. This night, in cold Kansas City, Kater was joined by flutist Amber Underwood (AKA Flutienastiness), who was even further transportive and dreamy in her interpretations of the track. It was a transcendent song, a daring banjo-flute dialogue, a mind-blowing mini set, and a perfect harbinger of what Strange Medicine would cure and balm. – Justin Hiltner

June 7-8, 2024 – Laurel Cove Music Festival

The gem of a festival located just north of the Cumberland Gap in Pineville, Kentucky, has fostered several special moments in recent years, but none come close to matching the memories from Wyatt Flores and The Red Clay Strays headlining sets there this past June.

The first came when Flores’ mics were cut off before an encore, leading to his band sitting atop the speakers lining the stage for a crowd sing along to Tyler Childers’ “Lady May” that to this day still gives me goosebumps. But if that wasn’t enough, The Strays topped it the following night when their show turned into an impromptu baptism after people in the crowd began jumping into the shallow pond surrounding the stage during a performance of their hit song, “Don’t Care.”

Both occurrences were pure magic from two of the year’s hottest country-adjacent acts in an intimate setting with only 1,500 people in attendance, showing that even in the age of corporate mega-festivals the best things still do come in small packages. – Matt Wickstrom

February 16, 2024 – The Death of Dexter Romweber

Though he was never top of the pops – or even on the charts at all, either solo or with Flat Duo Jets – wildman proto-rockabilly guitarist John Michael Dexter “Dex” Romweber was still an inspirational icon in the roots-rock world and a key influence on major bands like White Stripes and Black Keys. Romweber was just 57 years old when he died from a cardiac event this year, a shocking event that inspired a worldwide outpouring of tributes that went on for days. Maybe the best of all came from Jack White, who was always wide open about the depth of Romweber’s influence on White Stripes. Writing on Instagram, White proclaimed that Dex “was the type that don’t get 3 course dinners, awards, gold records and statues made of them because they are too real, too much, too strange, too good.” That’s the truth. – David Menconi

July 27, 2024 – Langhorne Slim, “We the People (Fuck the Man)” Live at the BGS Jam at Newport Folk Festival

While putting together the set list for the BGS Late Night Jam, “A Bluegrass Situation,” at Newport Folk Festival back in July, our old pal Langhorne Slim suggested a new tune he had just written. Would the house band be willing to learn it for this special occasion? In the words of our jam host and BGS co-founder Ed Helms, the song was an “instant Newport Classic.”

Slim’s new tune, “We the People (Fuck the Man)” – later released on streaming platforms just before the election – echoed through the Pickens Theatre that Saturday night and immediately got the audience on their feet. Its lyrics are as timeless and rallying as any Guthrie tune, but amidst all the declarations against greed and polarization there’s an optimistic plea in the chorus:

So let us love our neighbors
Protect the land
Look our brother in the eye
When we shake his hand
It’s been this way a long time
It’s hard to understand
The time has come for everyone
We the people, fuck the man

In these tumultuous times, Slim gave us words (and a performance) we shouldn’t soon forget. – Amy Reitnouer Jacobs

Sam Williams & Carter Faith, “‘Til I Can Make It on My Own”

Sam Williams and Carter Faith drape their fringe-laced voices over Tammy Wynnette’s “‘Til I Can Make It on My Own.” While honoring the song’s 1976 roots, the two rising stars spin their own lonesome and delicate performance that seems to transcend time and place. “Lord, you know I’m gonna need a friend,” they sing, trading stunningly confessional lines and background harmony. “‘Til I get used to losing you/ Let me keep on using you, ‘til I can make it on my own.” Through a honeyed, emotionally resonant arrangement, Williams and Faith demonstrate exactly why they’re among the best of today’s new crop of talent. – Bee Delores

Yasmin Williams, Acadia

The guitar is perhaps the most ubiquitous instrument in the modern world, making it even more notable that a picker like Yasmin Williams could still stake out fresh territory on the instrument, finding and championing her own truly original sound and approach. Acadia is a masterwork, breaking still new ground after Williams’ incredibly successful 2021 album, Urban Driftwood. While Acadia isn’t exactly a reinvention for the picker-composer-innovator, it does limitlessly expand the acoustic universe she’s been fleshing out since releasing her debut, Unwind, in 2018. That’s a fairly short runway for a creative to accomplish so much, especially given Williams seemingly treats her guitars as brand new devices each time she picks them up to compose. The results are often bafflingly, jaw-dropping, and dramatic – but always musical and ceaselessly inspiring. – Justin Hiltner

Photo Credit: Tracy Chapman live on the 2024 GRAMMY Awards; Kaia Kater by Janice Reid; Langhorne Slim with Ed Helms at Newport Folk Festival by Nina Westervelt.

PHOTOS: Ed Helms Hosts A Bluegrass Situation at Newport Folk Fest 2024

Posted on by Justin Hiltner

On the evening of Saturday, July 27, BGS returned to the fabled Newport Folk Festival for the first time in a decade to host a very special after show event, A Bluegrass Situation, hosted by our co-founder Ed Helms, Noam Pikelny, and friends. Held at the Jane Pickens Theater in Newport, Rhode Island, the evening – which benefitted the Newport Festivals Foundation – was produced by BGS executive director Amy Reitnouer Jacobs in partnership with the festival team. The star-studded concert sold out almost instantaneously.

“In today’s overcrowded music festival market, it can be rare to find that place that maintains both comforting familiarity and curatorial daring do,” said Reitnouer Jacobs. “One of the last bastions of this kind of audacious event production is Newport Folk Fest… Saturday marked exactly ten years to the day since the last time BGS curated a stage for Newport. Here’s hoping our next return to Fort Adams will be far sooner!”

Helm’s own band, the Lonesome Trio – with Jacob Tilove and Ian Riggs – served as the evening’s house band, including pal Noam Pikelny (Mighty Poplar, Punch Brothers) on banjo. They kicked off the evening with a pair of bluegrass classics and were on hand throughout the show to back up many BGS friends & neighbors, including Rett Madison, young mandolin phenom Wyatt Ellis, frequent BGS collaborator Langhorne Slim, bluegrass banjo trailblazer Tony Trischka, and more.

Festival mainstay Billy Bragg made an appearance (appropriately covering Bob Dylan), as did Alisa Amador, who also joined singer-songwriter Kaia Kater on a performance of Kater’s original song, “Nine Pin.” Kater was back on stage again later in the evening for a banjo throwdown with Helms, Pikelny, Trischka, and Rhiannon Giddens all picking “Cluck Old Hen,” which brought down the house. Andrew Bird and Madison Cunningham, who performed Buckingham Nicks at the festival during the weekend, stopped by for two songs, while elsewhere in the set Giddens called on her musical collaborator Dirk Powell – and Powell called on Giddens – for a pair of selections as well.

“Ed and Noam gathered a gaggle of old friends and buzzy new talent for one of our best bluegrass jams yet,” Reitnouer Jacobs continued. “Rhiannon Giddens and Langhorne Slim warmed up backstage alongside artists making their Newport debut, such as  Wyatt Ellis and recent BGS Artist of the Month Kaia Kater (whose supergroup New Dangerfield would take the main stage the next day). Rett Madison dazzled us with sartorial style and voice, and surprise guests dropped by – like Tony Trischka and John C. Reilly. Like any good bluegrass jam, you never quite knew who was going to take the next break, but you knew it was going to be damn good.”

Reilly – arguably best known as an actor/comedian – is also an accomplished Americana songster, and joined his old friend Helms on a rendition of the Stanley Brothers’ “It’s Never Too Late,” to the delight of the Jane Pickens Theater crowd. To close the evening, the full cast of stellar artists, musicians, and creators came together to jam on a few rousing group numbers, including a touching a capella encore of  “Amazing Grace.”

Newport Folk Festival is a sacred space in our roots music community; we were so proud and honored to return to the event to host A Bluegrass Situation and offer a stage to so many of our dearest friends in bluegrass, folk, and Americana. Relive our special after show with these photos from the evening:

All photos by Nina Westervelt and Josh Wool, as noted. Lead Image: Nina Westervelt.

BGS 5+5: Kevin Daniel

Posted on by Editor

Artist: Kevin Daniel
Hometown: Born in Tarboro, North Carolina; currently in Nashville, Tennessee
Latest Album: The Life & Adventures of Kevin Daniel
Personal nicknames (or rejected band names): Lol, Kevin Daniel & The Danielettes is one I force on my band sometimes (we go by Kevin Daniel & The Bottom Line when I play full band)

Which artist has influenced you the most … and how?

Historically I would have to say Elvis Presley due to his general stage presence and vocal abilities, but lately I’ve been way more interested in songwriting, which Elvis notoriously did not do a lot of. Currently Jason Isbell and Tyler Childers are my biggest lyrical influences, as well as Langhorne Slim who is honestly as much a poet as he is a singer. They all put truth to words in a way that seems genuine and can touch a wide variety of people and personalities.

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

This might seem silly, but at the end of every show I play with a full band (The Bottom Line) I make sure to go up to each of them before we leave the stage to thank them. I don’t have a set band, it’s always a different setup, and I know these guys could be playing with someone else, so I just make sure to let them know I enjoyed and appreciated them before we start breaking down for the night.

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

I don’t know if I can say this, but I once saw Margo Price on a panel and her big piece of advice was “don’t be an asshole.” I’ve taken that to heart and I try not to take anything too personally when it comes to my career. It’s easy to get bitter and jaded in the music industry, so not being a jerk can really go a long way with people.

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

Anyone who knows me knows that I am obsessed with surfing. Real surfers know how passionate you can get about the sport and how it can really consume you. I spend about six weeks every year taking a break from touring to surf in Costa Rica, write music, and generally not drive more than a mile in any direction. Surfing helps me recollect my thoughts and really just be in the moment, whereas the rest of the year I’m always thinking at least three months ahead.

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

I try to be as authentic as possible when I’m performing and writing music. At some point though, you are not as interesting as you think you are, and you need to write about stuff that has nothing to do with you. I think there’s a way to do that authentically but you are in essence writing a piece of fiction. The Kevin Daniel you see on stage is basically me, but generally more nice. In real life, I can be a bit of a grump. I’m working on it.

Photo Credit: China Carracedo

BGS Top 50 Moments: Newport Folk Festival

Posted on by Shelby Williamson

Dylan going electric in 1965. Lomax making his historic archive recordings in 1966. Joni taking the stage after 50-something years in 2022. Newport Folk is a festival full of milestone moments and lots of surprises. And for a brief moment in time in 2014, BGS was a small part of Newport Folk Fest’s long and storied history too, when we presented our Bluegrass Situation Workshop Stage inside the intimate Whaling Museum building on Sunday at the Fort.

Amidst a festival lineup that included such stalwarts as Nickel Creek, Trampled by Turtles, Dawes, Valerie June, Hozier, Jack White, and Mavis Staples, the BGS crew – helmed by co-founder Ed Helms and his Lonesome Trio bandmates Ian Riggs and Jake Tilove – hosted a few “up and coming” acts we were very excited about, singing songs about significant “firsts” in their lives. Some of those young whippersnappers you might have heard of, like Shakey Graves (joined by Chris Funk of the Decemberists and Langhorne Slim), Aoife O’Donovan, Wilie Watson (with special guest Sean Watkins), and Watchhouse (who were still going by Mandolin Orange at the time), which marked Andrew and Emily’s very first – but certainly not last – appearance at Newport.

That big “first” for us was significant – to be welcomed into the “Folk” Family and made to feel like we were all part of something big and wonderful. And it’s that feeling that’s brought us back to the Fort year after year ever since.

Photos by Samara Vise

BGS10: For Our Birthday Month, Here Are 10 of Our Most Memorable Videos… So Far

Posted on by Editor

As we celebrate a decade of the Bluegrass Situation, we’ve combed through our archive to reminisce and enjoy some of our favorite moments from the world of roots music. In lieu of our usual Artist of the Month feature, we’ve decided to shine the spotlight on our own musical history. Here are 10 picks that capture the road of how far we’ve come over the last decade…

 

Do You Play the Banjo w/ Della Mae @ MerleFest (2013)

Kimber and Celia of Della Mae wandered the grounds of MerleFest to ask the ever-important question: “Do You Play Banjo?” (Don’t miss a true BGS highlight at 2:30)

Back Porch of America series (2013)

Our first series premiere, The Back Porch of America was like stepping back into history as host Matt Kinman visits with Mark Newberry, a fifth generation chair maker on Jennings Creek, near Red Boiling Springs, Tennessee.

Imogene & Willie Listening Room – Langhorne Slim (2013)

See Langhorne Slim and friends Kristin Weber, Shelby Means, and Kai Welch perform “Countryside Shuffle” at the original Imogene & Willie store in Nashville for The Bluegrass Situation during our first ever AmericanaFest.

Soundcheck – Noam Pikelny (2014)

Soundcheck was a series that sat down with artists before they hit the stage.  In this episode, Noam Pikelny, recipient of the Steve Martin Banjo Prize and founding member of Punch Brothers, hung out with BGS ahead of his Nashville show in support of his 2013 release, Noam Pikelny Plays Kenny Baker Plays Bill Monroe.

Bonnaroo Superjam Finale – Lake Street Dive, Dierks Bentley, The Avett Brothers, Ed Helms, and More (2014)

The Bluegrass Situation held court for five years on That Stage at Bonnaroo, curating and hosting a lineup of our favorite musicians that culminated in an epic annual Superjam. we’ll always have a fondness for this particular night, when BGS co-founder Ed Helms lead the final number “I’ve Had the Time of My Life” (yes, the one from Dirty Dancing) alongside Rachel Price from Lake Street Dive, The Lone Bellow, Dierks Bentley, Sarah Jarosz, The Avett Brothers, and many many more of our favorite folks.

Live at Telluride – Chris Thile & Edgar Meyer (2014)

Check out that view! BGS & Mason Jar Music scoured the town of Telluride, Colorado to find this perfect beautiful spot for Edgar Meyer and Chris Thile to play “Why Only One?” during Telluride Bluegrass 2014, one of several jaw droopingly gorgeous videos from the series.

Live from Old Settlers Music Festival – The Earls of Leicester  (2016)

It doesn’t get much more legit than The Earls of Leicester, the bluegrass supergroup organized by dobro-master Jerry Douglas. Here, the guys gather round some Ear Trumpet Mics to bring their traditional flair to a modern audience.  One thing is for sure: those bow ties have never been cooler.

AmericanaFest UK – Birds of Chicago (feat. Allison Russell) (2019)

Folk duo Birds of Chicago (aka Allison Rusell and JT Nero) perform “Try a Little Harder” for BGS-UK’s first video series. This heartfelt performance was filmed at Paper Moon Vintage in Hackney, London, during AmericanaFest UK’s 2019 conference by Wonderscope Cinema.

Shout & Shine Online – Lizzie No (2020)

Harpist, songwriter, and Basic Folk co-host Lizzie No recorded the first of our Shout & Shine Online series, which comprises short-form, intimate video performances by underrepresented artists in Americana, folk, blues, and bluegrass.

Whiskey Sour Happy Hour – “The Weight” (Superjam, feat. Ed Helms) (2020)

Presented by our co-founder Ed Helms and the Bluegrass Situation, the superjam finale of the Whiskey Sour Happy Hour series features an all-star cast performing in their homes for a great cause. Thanks to the Americana Music Association, TX Whiskey, and Allbirds for their support in helping us raise over $75,000 towards pandemic relief

With Clawhammer Banjo, Gregory Alan Isakov Covers the Lumineers

Posted on by Editor

Happy birthday, Dualtone Records! The Nashville-based indie music label is celebrating a tremendous milestone this year, commemorating the 20 years they’ve been in the business of bringing us beautiful albums from an array of classic Americana, folk, and indie artists. To mark the occasion, they have issued a compilation album cleverly titled Amerikinda: 20 Years of Dualtone. The album features many of Dualtone’s artists from the past and the present performing each other’s songs in a whimsical, jovial tribute to the work and achievements of the beloved record company. Upon announcing the album in April, the label released vice versa recordings by Gregory Alan Isakov and the Lumineers, each performing a song written and made famous by the other.

Isakov and the Lumineers are just two of the artists on Amerikinda; they share the liner notes with powerhouse names like Shakey Graves, Langhorne Slim, Drew & Ellie Holcomb, and more. In the video below, hear Isakov’s ghostly rendition of the introspective Lumineers number, “Salt and the Sea.” (The Lumineers also contribute a cover of Isakov’s “Caves.”)

“The Lumineers have been our friends and local comrades here in Colorado for years, and when Wes sent me the premaster of their last record, I was instantly drawn into every song,” Isakov said. “The song ‘Salt and the Sea’ particularly spoke to me, lyrically, along with that haunting melody. I collaborated with my bandmate Steve Varney to pluck out Jeremiah’s piano part with clawhammer banjo. What a beautiful song. I hope we did it justice.”

Upon the album reveal, Isakov added, “Not only are they incredibly good at table tennis, Dualtone is an astounding team of humans. I had never worked with a label before, other than my own label, and it’s been an absolute pleasure teaming up with Dualtone. They are such a hardworking, collaborative, kind-hearted group, and it’s an honor to be a part of their 20th anniversary compilation.”

Label co-founder and CEO Scott Robinson says, “From the very start, we’ve tried to build this safe, encouraging space for artists to experiment and create, and it’s just so cool to see how deeply these bands have connected with each other and to hear the influences and friendships that stretch across the whole history of the label. At the end of the day, there’s something special about the energy of Dualtone, and it’s not because of me or Paul [Roper, President/Partner] or any other individual. It’s because of the way that everyone, artists and staff alike, come together as a community.”

Photo credit: Rebecca Caridad

The BGS Radio Hour – Episode 200

Posted on by Amy Reitnouer

Welcome to the 200th episode of the BGS Radio Hour! Since 2017, the show has been a weekly recap of all the great music, new and old, featured on BGS. This week we’ve got new releases from legends including Willie Nelson, and up-and-comers like Clint Roberts – and we can’t forget our March Artist of the Month, Valerie June! Remember to check back every Monday for a new episode of the BGS Radio Hour.

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Willie Nelson – “That’s Life”

Through a career spanning more than a half decade and 95 albums, Willie Nelson continues to provide answers during our troubled times. His most recent record, That’s Life, celebrates the music of his friend and colleague Frank Sinatra.

Lydia Luce – “Maybe in Time”

In celebration of her newest album, Dark River, Lydia Luce joins BGS for a 5+5 this week, where we talked inspirations, favorite art forms (other than music), and performance rituals. We’d like to RSVP for that Pad Thai with Nick Drake, please.

Jesse Brewster – “Amber Kinney”

San Francisco-based Jesse Brewster brings us a fictional tale from 19th-century Ireland this week. His new album, The Lonely Pines, is out now on Crooked Prairie Records.

Crys Matthews – “Call Them In”

From the upcoming album Changemakers, Crys Matthews extends a social justice invitation to us all in “Call Them In.” As a Black southerner, Matthews wrote the lyrics with freedom songs on her mind, supported by the inspiration of the late Representative John Lewis and Dr. Martin Luther King, Jr.

Langhorne Slim – “Mighty Soul”

Recent guest of our Show On The Road podcast Langhorne Slim sat down with BGS to talk his new album, Strawberry Mansion. Though it was never planned, the album presented itself through self-discovery, through the many personal and shared hardships of the last year.

Nate Fredrick – “Paducah”

Many of those who have driven westward from Tennessee have jetted past Paducah, Kentucky. For Nashville-based singer and songwriter Nate Fredrick, it’s more than just a stop on the highway: it’s a stage in the journey where it becomes obvious that if he made it this far, he can make it to his home in Springfield, Missouri.

Ross Cooper – “Named After A River (Brazos)”

Being tough isn’t easy, but it’s something we can all do with the right inspiration. Cooper wrote this song for his nephew, Brazos, inspired by the river for which he was named. “I want him to remember that, like a river, he could shape mountains, instead of mountains shaping him,” Cooper tells BGS. 

Valerie June (feat. Carla Thomas) – “Call Me a Fool”

This West-Tennessee born and Brooklyn-based artist is our March Artist of the Month here at BGS! Stay tuned all month long for exclusive interviews and content featuring Valerie June. Here’s a track featuring soul legend Carla Thomas, from June’s new album The Moon and Stars: Prescriptions for Dreamers. 

Jesse Terry – “When We Wander”

From Connecticut, Jesse Terry brings us a travel-inspired song, ironically completed right before the pandemic hit. Terry captures the feeling of taking a risk, despite fear of the unknown, and the shared experience of emerging out of it a more fulfilled human being.

Lauren Spring – “I Remember You”

For Lauren Spring, “I Remember You” is about choosing to remember someone in a kinder light than what the relationship may have been in reality. We should note the song’s inspiration: the viral TikTok video featuring a skateboarder, cranberry juice, and Fleetwood Mac’s ‘Dreams’ may or may not have subconsciously influenced the song’s sound.

Curtis Salgado – “The Longer That I Live”

Portland-based blues musician Curtis Salgado brings us a 5+5 this week in celebration of his new album, Damage Control. From an unexpected performance with B.B. King to a dream musician and meal pairing, Salgado seems to be nailing those three mission statements that he gave BGS. 

Clint Roberts – “Nothing Left to Say”

For this Western North Carolina-based singer and songwriter, the mountains are his inspiration. As a trail runner, Roberts uses his time running through the mountains to hash out lyrics and music – perhaps this song, from his new Rose Songs, was one of them.

Ryanhood – “Appy Returns”

Inspired by pickers as varied as the plugged-in sounds of Joe Satriani and Eric Johnson to acoustic masters like Chris Thile and Béla Fleck, this Tucson-based duo brings us a rare (for them) instrumental on their new album, Under the Leaves. 

Chris Pierce – “American Silence”

Many of us have heard this phrase in the past, but almost definitely this past year: Silence is violence. But we can’t give up on reaching out to those who are silent for help; we have to uproot the complacency that plagues our society. As Chris Pierce tells BGS, “If you smile and applaud for those different than you, be willing to fight for those folks too.”

Photos: (L to R) Willie Nelson; Valerie June by Renata Raksha; Lydia Luce by Alysse Gafjken

While Making ‘Strawberry Mansion,’ Langhorne Slim Learns to Be Still

Posted on by Editor

Langhorne Slim didn’t intend to make his new record, Strawberry Mansion, but he found a musical path through a crooked piece of time. He isn’t escaping the chaos of the era. Instead, we find him traversing it, soaking it in, and sharing a real-time creative reaction.

In “Sing My Song” he writes, “I’ll sing my song when my song appears.” By facing his own addiction and the many hardships the world has been dealt this past year, he cleared the path for the 22-song record to appear. With the support and musical collaboration of friends like Paul DeFiglia and Mat Davidson — as well as his family, label, and management — Strawberry Mansion stands as a fruitful monument to Slim’s hard work as a person and as an artist.

BGS: Will you talk a little bit about what you were experiencing leading into making this record?

LS: Well, I wasn’t writing music to write a record. I had been working for a long time trying to finish another project (the unreleased Lost at Last Vol. 2). I quit drinking and drugs about seven and half years ago and I relapsed with prescription medication that was prescribed to me and one thing led fairly quickly to the other, where I became dependent on that medication. That led me to about a year out West and a decision to come back to Nashville where I’ve lived for almost a decade. It is where I got sober the first time.

So the conversation in my head was, I’m going to go back home and get healthy. Right now, I’m actually in the apartment of my friend who came and drove me from Los Angeles back to Nashville and it was a brutal trip. And he’s a brother to me. He didn’t know that I was in bad shape and weaning myself off of these prescription pills. Prescription medication is a motherf***er and I have all kinds of thoughts and feelings about that. He found me in a place that he had not ever seen me in. I could see through his eyes that he did not recognize me and I don’t mean that poetically or metaphorically. My boy was clearly disturbed, frightened, annoyed, sad, and confused. When I dropped him off, he looked at me and I looked at him and I knew it was bad. He was just a mirror and I could see where I was at.

I called around some places and people and found some help. Shortly after I got home, the tornado hit. And then of course the pandemic. So energetically and physically, it was such a crazy wild time for everybody. On a deeply personal level, I think in retrospect, the slowing down and forced confrontation of things that needed immediate dealing with, there’s just so much that has been revealed in this. For me, who am I when I’m not a touring musician? Who am I when I’m facing my anxiety, my fear, whatever it might be? Some might say life on life’s terms.

For this record, I read that you had a friend that suggested that you write every day, which you had not done prior to that. Is that right?

It is right that you read that but it’s not the entire story… One of my friends, who I’ve known for many, many years sort of jokingly said, “If you just write a song every day, come over and we’ll record it.” As soon as the quarantine started, some songs started to come and at that point, it almost seemed like they were quarantine jingles. They were kind of on the nose for the situation but it felt good to have these new little songs. I would finish a song. I would not overthink the song. I would take it to my friend’s house in its rawest form. We would record it and I would post it and then I wouldn’t think about the song again. It was a cathartic thing. Catch, release, and on to the next one. And that wound up going on for a couple of months.

Were you interacting with fans over social media about the songs? And if so, did it wind up affecting the output?

Let me put it this way, I think what it was allowing me to do was to scratch an itch. I don’t know what would have happened if I wasn’t having some interaction, some connection in that way without being on tour. In this raw and intimate way, I was writing the song that day, making a little video, and putting it out to people who care or like what I do. It means a lot to me that other people not only relate but are feeling uplifted if only for the two minutes that they are listening to it. I’m sure that was a fuel and energetic force that allowed me to continue to do it.

When did you know that Strawberry Mansion was a record?

I’m superstitious and one time I told my good friend Jonny Fritz that there had been a black cat that was stalking my lawn and he laughed and rolled his eyes and said, “You know what is bad luck? Being so superstitious.” He’s a smart boy. When these songs were flowing, I didn’t want to call my manager or the record label because I thought it was taking it out of the spirit world and putting it into the more tangible physical one. After about 20-25 songs I had the idea for it to be a record, but wanted to keep writing and they finally called me and said, “We think that you should just record a stripped-down record,” which is what I wanted. A stripped-down, raw, immediate, and true to how the songs came about kind of record.

One of my favorite lines from the record is from “Panic Attack,” when you say, “I’m feeling things exponentially.” And that line can be for the good and the bad. What are you feeling exponentially right now in this moment?

I’m excited about the record. I’m proud of the record. I am looking forward to continuing to write songs and getting busy with whatever comes next. The feeling feelings exponentially can be positive. It can be negative. That was in terms of, obviously, a panic attack. I have been a sensitive boy my whole life so what I’m trying to do is to not let every feeling take me over or guide my next step, because if I’m not looking out for it, a certain kind of thought can manifest into an intense feeling very quickly.

There is going to be a lot of talk on this record about sobriety. This isn’t the first time I’ve gotten sober and I’m not trying to market or promote my sobriety. I’m trying to take that very seriously. It is part of the real shit that is in my life and it had to stop before more songs came. It seems dishonest for me not to discuss it. I still feel feelings very exponentially and would be lying to say that by getting sober or by writing a record that that cures any of it. It is a daily practice.

What are you most looking forward to musically after the pandemic has passed, and what are some things that you might do differently from having had this quiet time?

I think I am going to realize how much I miss the live experience. I think because I have been so fortunate to be able to write a bunch of music during this time, it has really fed that need. If I hadn’t been able to do it, I think I’d probably be really missing touring and being on the road. It feels weird to say but I don’t have that craving to be back out on the road. I miss performing for people.

For me personally, I could absolutely see touring a lot less and continuing to practice some semblance of stillness, whatever that means for me. More home time, I think would be healthy for me. Perhaps because I haven’t been under the delusion that touring is coming back any time soon since the beginning of this, I haven’t been constantly disappointed. I’m just trying to keep my shit together and have a healthy attitude about it and not have any expectations for what might be waiting for me down the street.

Photo credit: Harvey Washington