BGS 5+5: Lydia Luce

Artist name: Lydia Luce
Hometown: Nashville, Tennessee
Latest Album: Dark River

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

When I was in high school I was chosen to be in the Honor Orchestra of America… yes I was an orchestra nerd through and through. We got to perform with Christopher O’Reilly and had Benjamin Zander as a conductor. I was really into Radiohead and Christopher O’Reilly had just released his album of Radiohead covers for solo piano. He performed a few of the songs during our break and I was floored. I had a glimpse of these two worlds coming together, classical and popular music, and that really intrigued me. This was one of the moments I knew I wanted to continue to pursue music. Either that or when my mom took me to see Hilary Hahn play the Barber Violin Concerto in New York.

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

Dance is a big influence. I grew up dancing and it is still a big part of my life. Since moving to Nashville I have taken contemporary ballet, West African dance, and salsa dancing classes. I think about the movement of the songs when I write and ask myself how I would move to this song. For the music video of “Maybe in Time” I got to try out choreographing for the first time.

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

I grew up by the ocean, but I am now landlocked in Nashville. I spend most of my time in nature on hikes or kayaking here in Nashville. We have so many beautiful waterfalls about an hour outside of the city. One of my favorite things to do is go on solo camping and hiking trips. I find this time is helpful for going in deep with myself. Dark River is the spawn of some beautiful solo adventures.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Oh I like this question… “Pink Moon” by Nick Drake and pad thai. “I Was an Eagle” by Laura Marling and butternut squash soup with a big ole hunk of sourdough bread.

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

My rituals pre-show have become driven by vocal health. I started getting very serious about my vocal health in 2019 before going on a two month long European tour with shows almost every night. Before each show I do a warm up for about 8-10 minutes and use a portable steam inhaler. I started working with a vocal coach who taught me so much about keeping my mind and body healthy on tour. My little ritual has become so meditative for me because I seek out the most quiet place and have this moment of stillness all to myself.


Photo credit: Alysse Gafjken

From BGS with Love: Non-Crappy Christmas Songs

Cynical though it may sound, a lot of holiday music is pretty crappy. Just turn on your local soft rock radio station and try withstanding the onslaught of ratings-boosting renditions of “Rudolph” that, these days, seem to begin sometime around Halloween. Save for “Feliz Navidad,” a couple of Carpenters’ tunes, and anything by Bing Crosby, it all pretty much sucks.

To the rescue we come with our exclusive playlist of Non-Crappy Christmas Songs.

We like this list because it has a little of everything: heartbreak, humor, sentiment, and sadness — plus a performance by one of the great folk artists of all time … Kermit the Frog. So, kick back and let Joni Mitchell and Johnny Cash, Brandi Carlile and Burl Ives serenade your holidays.

For those of you who like your carols a little more on the country side of the street, the ginormous Ultimate Country Christmas Playlist we did last year rocks pretty steady.


Photo credit: ginnerobot via Foter.com / CC BY-SA

ANNOUNCING: 2018 Roots Music Grammy Nominations

Best Contemporary Instrumental Album

What If — The Jerry Douglas Band

Spirit —  Alex Han

Mount Royal — Julian Lage & Chris Eldridge

Prototype — Jeff Lorber Fusion

Bad Hombre — Antonio Sanchez

Best American Roots Performance

“Killer Diller Blues” — Alabama Shakes

“Let My Mother Live” — Blind Boys of Alabama

“Arkansas Farmboy ” — Glen Campbell

“Steer Your Way” — Leonard Cohen

“I Never Cared for You” —  Alison Krauss

Best American Roots Song

“Cumberland Gap” — David Rawlings; David Rawlings & Gillian Welch, songwriters

“I Wish You Well” —  The Mavericks; Raul Malo & Alan Miller, songwriters

“If We Were Vampires” — Jason Isbell & the 400 Unit; Jason Isbell, songwriter

“It Ain’t Over Yet” — Rodney Crowell featuring Rosanne Cash & John Paul White; Rodney Crowell, songwriter

“My Only True Friend” — Gregg Allman; Gregg Allman & Scott Sharrard, songwriters

Best Americana Album

Southern Blood — Gregg Allman

Shine on Rainy Day —  Brent Cobb

Beast EpicIron & Wine

The Nashville Sound — Jason Isbell & the 400 Unit

Brand New Day — The Mavericks

Best Bluegrass Album

Fiddler’s DreamMichael Cleveland

Laws of Gravity — The Infamous Stringdusters

OriginalBobby Osborne

Universal Favorite — Noam Pikelny

All the Rage: In Concert Volume One [Live] — Rhonda Vincent and the Rage

Best Traditional Blues Album

Migration Blues — Eric Bibb

Elvin Bishop’s Big Fun Trio —  Elvin Bishop’s Big Fun Trio

Roll and Tumble — R.L. Boyce

Sonny & Brownie’s Last Train — Guy Davis & Fabrizio Poggi

Blue & Lonesome — The Rolling Stones

Best Contemporary Blues Album

Robert Cray & Hi Rhythm — Robert Cray & Hi Rhythm

Recorded Live in Lafayette — Sonny Landreth

TajMoTaj Mahal & Keb’ Mo’

Got Soul — Robert Randolph & The Family Band

Live from the Fox Oakland — Tedeschi Trucks Band

Best Folk Album

Mental IllnessAimee Mann

Semper Femina — Laura Marling

The Queen of HeartsOffa Rex

You Don’t Own Me AnymoreThe Secret Sisters

The Laughing Apple — Yusuf / Cat Stevens

Best Regional Roots Music Album

Top of the Mountain — Dwayne Dopsie and the Zydeco Hellraisers

Ho’okena 3.0 — Ho’okena

Kalenda —  Lost Bayou Ramblers

Miyo Kekisepa, Make a Stand [Live] —  Northern Cree

Pua Kiele — Josh Tatofi

Karen Elson, ‘Distant Shore’

There is a story behind the making of Karen Elson’s The Ghost Who Walks that she has spoken about often. And that’s how, while writing the songs and working out the melodies on her guitar, she hid away in her bedroom closet so her family wouldn’t hear her. It’s a stunning revelation from someone who — as a model, as well as an artist — spends much of her time in front of the camera, making a living from being comfortable in her own skin … or at least making us believe that she is. For whatever reason, that story struck me immediately, before I’d even had time to digest the sheer beauty that was encased in her debut album, a perfect amalgam between the folk music of her British upbringing, the modern roots found in her new home of Nashville, and the grit of New York City, whose streets she has traipsed many times before. It resonated, because what woman amongst us hasn’t felt the need to shield ourselves from sharing something so vital, for fear of being judged — judged for being too loud, too pretty, too quiet, too aggressive, too ugly, too powerful? For wanting something too much? Or, perhaps, judged just by those closest to us? Even our aspiring female presidents are not immune.

It’s been seven years since Elson took that leap and let The Ghost Who Walks go from her closet floor to iTunes, and now she’s no longer a musician in secret: Double Roses, produced by Jonathan Wilson, will be released April 7 with help from the likes of Pat Carney, Benmont Tench, Laura Marling, and Father John Misty. Elson just released her first single, “Distant Shore,” and the way it’s been received is enough to force anyone back into seclusion: And that’s how many have made more of a story out of some supposed feud between Carney and her ex-husband Jack White, as if the work of a woman, who happens to be beautiful, couldn’t simply exist as anything but part of some vendetta orchestrated to address the men around her. Newsflash: It’s not. With gentle strings, lush keys from Tench, and her crystalline vocals (alongside backing from Marling), it carries with it the sweetness of Cat Stevens and the emotive touch of an acoustic Mazzy Star. “I am alone, I am free,” she sings. Sometimes freedom does come in solitude. But Elson shows us how it’s so much more freeing to open the door, and stop hiding.

Ryan Adams Is Gonna Party Like It’s ‘1989’

There's never a dull moment in the career of Ryan Adams, but he may have just topped himself with his latest move: covering Taylor Swift's chart-topping 2014 release 1989 start to finish… in the style of the Smiths. He's already shared a clip or two, and it sounds pretty epic.

Read more at Rolling Stone.

Other Roots Music News:

• Go behind the scenes of the making of Indigo Girls' "One Lost Day."

• Ashley Monroe covered John Mellencamp's "Pink Houses."

• Bruce Springsteen earned the distinct honor of serving as Jon Stewart's last Moment of Zen. [Consequence of Sound

• Laura Marling performed "I Feel Your Love" on The Late Late Show with James Corden.

• IBMA announced their film festival selections. [Bluegrass Today

Ryan Adams photo by Alice Baxley, courtesy of Nasty Little Man