Lilly Hiatt Archives - The Bluegrass Situation

Basic Folk: John Hiatt (Reissue)

Posted on June 6, 2025 by Shelby Williamson

(Editor’s Note: Welcome to our Reissue series! For the next several weeks, Basic Folk is digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it’s like to listen back. Enjoy!)

In 2021, John Hiatt released Leftover Feelings (which is still his latest album, by the way), a collab with bluegrass great Jerry Douglas as producer and his band as backup. Hiatt’s digging into some serious past memories for these songs, which include one about his older brother, Michael. Michael died by suicide when John was only nine and it’s only recently that he chose to write about the experience with the track, “Light of the Burning Sun.” Jerry knew that the material was very serious and approached it lovingly with John and band. On Basic Folk, John expands on his grief and talks about giving himself the time and space to mourn. We also chat about the importance of radio in John’s young life: he would listen to WLAC from Nashville as a kid around 11 years old. There was a gospel show on Sunday night and the station would go to a different Black church every week to broadcast services. As Hiatt has said, “Those gospel shows used to scare the shit out of me.” That opened his world to a completely different way to relate to music, in terms of faith.

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Hiatt picked up the guitar at 11 years old, partially to cope with the trauma resulting from being an overweight child. This was especially hard because he was a bigger kid at a time when it was rare for a child to be heavier. He discusses how music and, surprisingly, drugs and alcohol helped him overcome his weight issue. Then, of course, the drugs and alcohol led him to new problems in his adult years, requiring overcoming that addiction to live a sober life. John also talks about his kids, which includes musician Lilly Hiatt. Lilly said in an interview once, “I was crying over the fact that my career seemed stalled and I wasn’t the flavor of the month, and Dad said, ‘Lilly, we will never be hip. We’re just not those people.’”

John Hiatt has been a steadfast songwriter since the ’70s who’s written many well-loved songs such as “Have a Little Faith in Me,” “Cry Love,” and, of course, “Thing Called Love.” The writing on Leftover Feelings spans several decades and confronts some of his most vulnerable feelings. To be able to talk to John Hiatt about this project was a sincere privilege and we hope you enjoy!

Photo Credit: Patrick Sheehan

Basic Folk: Lilly Hiatt

Posted on February 20, 2025June 6, 2025 by Justin Hiltner

Singer-songwriter Lilly Hiatt has an interesting way of working melodies and a down-to-earth way of telling stories about her life and about how she sees the world. All of her albums have cool, crunchy guitar parts that take folk songwriting to a rockin’ level. On her new album, Forever, her diverse influences are woven into songs that touch on everything from relationships to anxiety and mental health to good old-fashioned rock and roll.

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In our Basic Folk conversation, we talked about the lessons that Lilly learned growing up the daughter of legendary songwriter John Hiatt and what it meant to her to see her dad go through the ups and downs of the music business while having the humility and self-belief to keep going. She also talks about how she thinks about herself as a performer – and how that’s changed since the pandemic. Before the pandemic Hiatt had a couple of really big records (Trinity Lane, 2017 and Walking Proof, 2020) that gained a lot of hype and attention. Once coronavirus hit, she had to sit in the house and ask the big questions like a lot of us did. She sat with the loneliness, alienation, and uncertainty.

You can hear in our interview just how much mutual respect and admiration we have for each other and how much belief we have in one another, not only as songwriters, but as women and as people who are in recovery. Very LYLAS vibes, lots of laughs.

Photo Credit: Jody Domingue

LISTEN: Lilly Hiatt, “Simple”

Posted on October 14, 2021 by Editor

Artist: Lilly Hiatt
Hometown: Nashville, Tennessee
Song: “Simple”
Album: Lately
Release Date: October 15, 2021
Label: New West Records

In Their Words: “The love that exists in our universe is infinite. My family is a big part of that realization for me, and they all appear in this song. I wanted this to begin the album as if to say hello with a smile.” — Lilly Hiatt

Photo credit: Dylan Reyes

Returning With ‘Cycles,’ Rachel Baiman Works Through the Stories of Women

Posted on July 7, 2021 by Editor

Rachel Baiman has never been afraid to delve head first into speaking her mind on the state of the world through her music. But with her new project Cycles, she approaches that task through a new lens focused on narratives that spark empathy in this era of entrenched polarization. Recorded in Melbourne, Australia, and steeped in its indie rock influences, she leans into a new sonic landscape with ease, collaborating with co-producer and Oh Pep! front woman Olivia Hally.

“This album started with the title song ‘Cycles,’ which was a co-write between me and Olivia,” Baiman says. “That happened around 2018 when she was in Nashville. I had been a big fan of hers for a long time. She asked if I would want to write with her when she was in town and I was like, ‘Absolutely, that is my dream.’ So we had that one writing session and it was a magical musical experience. It was kind of like going on a date, like an amazing first date. Because there was such a great working connection, I asked if she would want to co-produce the whole record.”

During her long-awaited first tour since early 2020, Baiman called in to BGS.

BGS: This album takes a bit of a departure from earlier bluegrass leanings. What has been influencing your sound these days?

Baiman: This album in particular was really influenced by the Americana and indie rock sounds coming out of Melbourne and that is what led me to want to work with Olivia Hally. There are a lot of artists and bands that I love from that town in this exciting roots music scene. Oh Pep! obviously was an influence on this record since Olivia had such a hand in it. But also I love Courtney Barnett, Dan Parsons, and The Maes. There are so many cool bands coming out of that scene. That was the impetus for going for that soundscape. Also, a lot of the more contemporary artists that I have been listening to are more in that rock and grunge vibe (probably more so than I would want to get to myself). I’m a huge Lilly Hiatt fan and Margaret Glasmeade as well.

You collaborated with amazing women on this record. Was that an intentional choice?

Yeah I’m always wanting to work with the right people first and foremost, but I definitely was thinking about how I could work with more women. Especially for the thematic nature of the record. A lot of it is written about women’s stories and about family. I did think it would be really cool to work with a female producer and when Olivia and I hit it off, I knew it would be awesome. It did change the environment. I felt very comfortable and at ease in the studio, which ideally you always want to be.

But when you are working with someone who you feel a little intimidated by, that can change the dynamic and limit your free flow of ideas. I am a huge fan of Olivia’s so that easily could have been the case but the dynamic was such that she made it feel very, very comfortable. There was no ego or shooting down of ideas. I think that when you are a woman in a male-dominated space, even if people are trying to make you feel comfortable, there is always going to be a layer of feeling like you are the outsider or that you have to prove yourself. Having that removed from the situation really did make a huge difference.

Bree Hartley is an incredible drummer. She was a rock star in this situation because we actually had to record all of the drums first because of a studio mishap. That’s a really crazy way to make a record. She had to go in there and make 12 drum tracks to nothing. She had one chance and that’s what we had to use and she nailed it. And Shani Gandhi is obviously such a rock star engineer. I was almost shy to reach out to her because she is so established. I was really stoked that she was into the project and she did an amazing job mixing it. Those are some of the chief players and all of them stand out in their fields.

This question is inspired by Cycle’s first single, “Joke’s On Me.” I read that you’d had a bummer of an experience in your music career that inspired this song. Can you talk about what some of the challenges in the music industry are and what you might change if you could?

That’s such a big question. I think a lot of the challenges honestly stem from the way that people in the country are treated when they don’t have a regular 9 to 5 job with benefits. Obviously healthcare is a huge challenge. Any kind of retirement plan is a huge challenge. Just having those basic safety nets that make you feel like if something goes wrong, you won’t be out on the streets and that your basic human needs are met, like health care. That is a countrywide systemic issue. I wish that everyone had access to that because it would dramatically change the experience of freelancing or being an artist.

On the artist side, everyone is trying to create art that is new and beautiful or that innovates. On the business side, innovation is scary because people don’t have a model. There is always going to be a disconnect between the art and the commodification of the art. When you are trying to make a living off of art, you have to have team members that need to make money off of you. …

For me, [I was] getting dumped from a booking agency for no reason other than they were merging and the people at the top of the new company decided I wasn’t making them enough money. It was hard because I knew I had a new record. I knew I needed one more record cycle and I could be there, just nine more months basically. I think that my personal agent would have kept going but he didn’t have a choice. You become a commodity because they aren’t looking at the art and thinking about ideas you have for the next record, they don’t care. They are like, “I looked at the spreadsheet and you didn’t make enough, bye!” I don’t have any big solution, but I do think there are some things we can do as a country to make sure that everyone is doing ok.

You are very vocal about what you think and feel. What is your experience like in speaking your mind through your art about the state of the world?

It can be hard. It is similar to everything in this country right now. It is really polarizing. A lot of people do rally behind it and feel heard and seen and want to be supportive of it. And then there are a lot of people who get mad. I’m trying to think about what makes people empathize with each other. It is a different landscape than it was in 2017. When I put out Shame, I felt like it was a really important message to go out at the time. I felt like this needed to be said and there wasn’t a ton of political music happening at that time. I think people really appreciated that, if they felt like they needed to be heard in that way. I have had a lot of women reach out and say that album has been really helpful to them. That is super meaningful to me.

Now I feel like we have spent four years screaming at each other and everybody knows the sides. We know the talking points, like everything has been said a thousand times. When I was writing the material for this new album I was trying to get below that layer of shouting and work through stories and people. I think generally people can empathize and understand each other as humans. It is just that we get immediately triggered by certain talking points and shut down. I’m not trying to say, “Kumbaya, we are all one.” There are some serious problems. It is about wanting to reach people on an emotional level. It is hard to disagree with someone’s personal experience.

You have been an advocate for mental health and the power of art and music to help out in times of need. How does creating help with your mental health?

It is a necessity for me in terms of my mental health. Some people have strategic ways that they work on their writing and I think that is great. I should probably do it. But for me it has always been haphazard. I have a really strong feeling or a really strong push and then I need to write it down. It needs to get out. It is very therapeutic. There is something about being able to create something new that feels important. I’m essentially a little bit addicted to that. There is so much negativity and destruction and bad news all the time. For me, my anxiety lives in the global news and politics. That is what triggers me. People have different things that get them down but for me it is very much the state of the world.

Creating acts as a real counterbalance when I feel like I can put something beautiful into the world. Especially when I get to do that with a band and go record it and see it come to its full realized potential. It is such a magical feeling because you are actually creating something instead of tearing something down or watching something or someone being torn down. Playing live shows and having that connection and being able to be a part of that magical moment that happens with live music, I didn’t even realize how much it meant until we got to play the first show after the pandemic and I was like, “WOW, I feel like a piece of me has returned.”

Photo credit: Natia Cinco

BGS Podcast Roundup // May 22

Posted on May 22, 2020May 22, 2020 by Shelby Williamson

We’ve got another round of podcasts for you this Friday, with episodes featuring one of the last founding fathers of bluegrass, a delicious Mexican-inspired meal from an award-winning Austin chef (in your home!), a young Nashville phenom’s debut on Rounder Records, and much much more.

Make sure to follow along with the BGS Podcast Network on our social media [Facebook, Twitter, and Instagram] and right here, where we’ll consistently gather our new episodes, as well as some past favorites:

The Shift List – Chef Fermín Núñez (Suerte) – Austin, TX

This week, our first in a series of shows from Austin, Texas, starting off with Fermín Núñez, executive chef of East Austin’s Mexican-inspired restaurant Suerte and Eater Austin’s 2018 chef of the year.

As you’ll soon discover, Chef Fermín is a man with a mission: To create the perfect tortilla, every single day. It’s his attention to detail that has made Suerte one of the most beloved new restaurants in Austin, and Chef Fermín’s love of music is woven into each part of the day, from the making of the masa, to prepping his mise en place, to the entire staff stopping at 4pm to clap to a cover of “Achy Breaky Heart” in Spanish and prepare for the night of service ahead.

Speaking of service, Suerte closed for a few weeks back in early March to regroup and recalibrate as the city of Austin sheltered in place because of the new coronavirus. In mid-March they reemerged with the Suerte Taqueria, providing highlights from Suerte’s menu for takeout — a highlight being the Suadero Taco Meal kit for families to enjoy at home. The kit includes all the ingredients needed to prepare Chef Fermín’s signature dish at home, including confit brisket, avocado crudo, black magic oil, signature tortillas, and sides. In addition to cooking instructions, they rounded out the experience with a video of Chef Fermín cooking along in his own kitchen, and a link to his favorite playlist in an attempt to bring the full Suerte experience into your kitchen.

The kits are still available, so if you live in the Austin area and need some high quality sustenance, head over to Suerteatx.com.

The String – Lilly Hiatt, Gabe Lee

Lilly Hiatt put in a lot of work at the local and regional level, including releasing two albums, before her third, Trinity Lane, met the moment and became a breakout work.

So a lot of ears were lifted toward her 2020 release of Walking Proof, and it was quickly acclaimed as punchy, vivid and memorable. We talk about going on the road with her dad songwriter John Hiatt back in the day, the deserved success of Trinity Lane and new musical directions. Also, a get-acquainted talk with Nashville-born, rocking country songwriter Gabe Lee.

Toy Heart: A Podcast About Bluegrass – Jesse McReynolds

One of the last founding fathers of bluegrass, Jesse McReynold’s story is the story of bluegrass — a music that emerged out of the country, into rural schoolhouses, onto rural radio, finding sponsorship along the way, enmeshing itself into the mainstream of American culture.

McReynolds tells the story of his grandfather, who played in the first recorded country music session, talks about being offered a gig with the Stanley Brothers, serving with the armed forces in Korea and singing alongside Charlie Louvin. He relates hunting down record deals and successes with his brother Jim, starting their own label, being sought out by counter cultural icons like the Grateful Dead and The Doors. Now nearing the age of 91, McReynolds spends some time reflecting as well, on his brother Jim’s death, his own struggles with the Opry, and how he feels about his legacy in the music. This is an icon of American music whose story isn’t often told, and we’re honored to play a part.

The String – Katie Pruitt, Jenee Fleenor

Katie Pruitt has been known as a phenom ready for big things in Nashville for a few years now. With patience and enough maturity to get the music exactly as she intended, Pruitt has now made her debut on Rounder Records.

The album Expectations is a bold, ambitious, and succulent collection, and vividly honest as well, with songs documenting a difficult journey from a conservative family in Georgia to a proud gay woman in Music City. This is a 25-year-old singer, songwriter, and guitarist poised for big things. Also in the hour, the journey of Arkansas born fiddler Jenee Fleenor. She was named CMA Musician of the Year and she’s releasing her first recordings of her own music after years supporting others.

The Show on the Road – Steve Poltz

This week on The Show On The Road, we feature a conversation with a Canadian-born paraparetic prince of pop-folk singers, who has jumped through more gauntlets of the modern music industry than almost anyone in his three plus decades of making records, Steve Poltz.

Poltz first hit the scene with the San Diego-based underground punk-folk favorites The Rugburns, then as an accidental hitmaker and MTV video heartthrob with collaborator and friend Jewel, and then as a wild-haired, two hundred shows a year internationally revered solo act. He’s put out a baker’s dozen of whacked-out, deceptively sensitive, and fearlessly personal albums that have won him devoted audiences from his ancestral home in Nova Scotia to the dance party dives of California to massive festivals across Australia and beyond.

As we are still quite separated during the pandemic, host Z. Lupetin called up Poltz in Nashville to discuss the long and twisty road Poltz has travelled — jumping from his inspired, most-recent album Shine On back to his childhood in swinging Palm Springs (where he met Elvis and Sinatra), to making $100,000 music videos for his ill-fated major label debut in ’98, to nearly dying on stage after substance abuse problems and never-say-no-to-a-gig exhaustion took its toll.

We now find him in a more peaceful, purposeful existence, where he is newly married and enjoying making music at home (government orders!) for the first time in decades.

The String – Lilly Hiatt, Gabe Lee

Posted on May 12, 2020April 26, 2023 by Chris Jacobs

Lilly Hiatt put in a lot of work at the local and regional level, including releasing two albums, before her third, Trinity Lane, met the moment and became a breakout work.

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Bright Sunshine and Intense Badassery: Lilly Hiatt’s Rock ‘n’ Roll Style

Posted on April 30, 2020May 4, 2020 by Justin Hiltner

This shoot happened just a few days after venues began closing and tours were being cancelled due to the coronavirus. Lilly Hiatt and I decided to continue, holing up in an empty venue called Drkmttr Collective here in Nashville by ourselves for a few hours. (You can support Drkmttr’s GoFundMe to help keep them afloat, if you feel inclined.)

Lilly is a mixture of bright sunshine and intense badassery; her good nature and spirit was a welcomed respite from the scary unknown so many of us artists were heading into then, and of course are still navigating. I thought Drkmttr Collective would be a great spot for her — a little quirky, a lotta rock ‘n’ roll. The three outfits she sported fit easily into the feel of the place.

As it stands, this was my last shoot before so much was canceled and shut down, but we no doubt ended on a high note. Until next time! Stay safe and well out there, y’all. — Laura Partain

Pictured above, Lilly wears a Low Cut Connie tee and Blank NYC leather jacket.

Lilly wears a glitter mock turtleneck top from H&M, Top Shop jeans, and Frye boots.

Strap and buckle detail of Lilly’s Frye boots.

Lilly wearing a red Petites by Willi top from Anaconda Vintage in Nashville, necklace by Madewell, and Top Shop jeans.

Necklace by Madewell, Frito Pie ring by Snash Jewelry, black stone ring by Pale Silver, and red Petites by Willi top.

The top by Petites by Willi, necklace by Madewell, Frye boots, and Top Shop jeans look is completed with a Rickenbacker and an earplug dispenser at Drkmttr Collective in Nashville.

All photos by Laura Partain

BGS 5+5: Ron Pope

Posted on January 7, 2020January 7, 2020 by Editor

Artist: Ron Pope
Hometown: Nashville, Tennessee
Latest album: Bone Structure (March 6, 2020)

Which artist has influenced you most and how?

Springsteen has always been my North Star. First of all, he’s a band guy in solo artist’s clothes. I’ve always felt the same way; I meant to be in a band of equal partners (and that’s how I started), but in the end, I was unwilling to cede the control necessary to do that forever if I was going to have to do the lion’s share of the work. That was a tough thing for me to admit to myself, but I figured it couldn’t be that wrong if Bruce did it.

I guess it was also coming from that same kind of blue-collar background and trying to tell the stories of how real people around me were living their lives. Bruce showed me that a songwriter could reflect the world they came from and represent those who would otherwise go unrepresented. I never had to learn that, because he was doing it before I was born; I’ve always known that was possible.

What’s your favorite memory from being onstage?

The first time we played at Irving Plaza in New York my grandparents happened to be in town. They hadn’t seen me play in years. The last show they’d attended was at a shady club in Miami where there were maybe six paying customers and we’d been instructed by the management to pay some tweaker named “Speedy” to watch our van. At this sold-out show in New York with over a thousand people in attendance, my grandparents were pretty wide-eyed. At some point during the show, I called them out and had a spotlight thrown into the balcony. The whole crowd went wild. I’ll never forget my grandmother standing up there waving down at the crowd like the queen. My grandpa (who is not an easy man to impress) was very stoked. I’ve never been happier on stage than in that moment.

What other art forms inform your music?

I am constantly reading. I can’t imagine attempting to be a writer if you’re not an avid reader. I have to put words in to get words out. Recently, I’ve been on an autobiography kick. I just finished Elton’s. Now I’m reading Presidents of War. Thinking about rereading On The Road next.

If you had to write a mission statement for your career, what would it be?

My philosophy is simple: Just don’t stop. When everyone around you quits, just keep on going and eventually, you’ll get where you’re hoping to go. When I was starting out, I wasn’t the best musician in my social circle (not by a mile), but as each of them decided it was too hard to keep going, I refused to surrender. That’s what made the difference.

What is your dream pairing of a meal and a musician?

My wife and I do a silly cooking show on Instagram that we’ve dubbed “Frankie’s Test Kitchen.” (In theory, we’re teaching Frankie, our twenty-month old, how to cook; in practice, she just tries to eat fistfuls of flour and chases the dog.) We always want to have our musician friends over, but it’s rare that any of us are in town at the same time. In 2020, I’d like to find one day where I can get everyone to the house all at once and do a big Sunday supper like my grandma used to do, with my homemade meatballs and red sauce.

Everyone who’s ever gotten a dinner invite to my house could come (including Lilly Hiatt, Lauren Morrow, Michaela Anne, Katie Schecter, Kirby Brown, the Trotters from The War and Treaty, Struggle Jennings, Caroline Spence, Alanna Royale… I could do this all day; I’m forever inviting people to dinner at the house). So rather than some dream pairing where I make coq au vin for Jimi Hendrix, I just want all these people who I know and like to come eat a dish that usually makes people smile. And if you happen to talk to them, somebody tell Bruce and Patti we’re saving them two seats!

The Best of Sitch Sessions: 13 Must-See Musical Moments

Posted on January 4, 2019 by Amy Reitnouer

As we enter the new year, we look back on our favorite moments shared with some of our favorite artists in 2018. Check out our top Sitch Sessions, filmed in Los Angeles, Nashville, Philadelphia, and beyond.

“Ain’t That Fine” – I’m With Her

Fresh off the release of their debut full-length album See You Around in February, Sara Watkins, Aoife O’Donovan, and Sarah Jarosz serenaded us among the palms of the Fairmont Park Horticultural Center in Philadelphia.

“Mal Hombre” – Rhiannon Giddens

Rhiannon Giddens brought Tejano to East Nashville with her powerful version of the legendary Lydia Mendoza’s classic “Mal Hombre.”

“Long Gone Out West Blues” – Joe Mullins & the Radio Ramblers

Traditional bluegrass proselytes Joe Mullins & the Radio Ramblers joined us in Nashville, gearing up for the return of Huck Finn Jubilee in Southern California last October.

“The Traveling Kind” – Rodney Crowell and Emmylou Harris

Looking back on their 40+ years of friendship and collaboration, with no intention of stopping, Rodney Crowell and Emmylou Harris claim to be members of an “elite group” of those from their generation still traveling, touring, and performing. They laugh, “We’ve traveled so far, it became a song, at last”.

“Islands in the Stream” – Love Canon

How can you not smile from this bluegrass-inspired version of this Kenny Rogers and Dolly Parton classic?

“Rygar” – Julian Lage and Chris Eldridge

The duo gifted us with the building, joyous “Rygar”, off their album Mount Royal, which they describe as being comprised of “experiments” — songs that allowed them to explore their own capabilities and push the boundaries of what can be done on the acoustic guitar.

“The Restless” – The Lone Bellow

With this stunningly stripped-down rendition of “The Restless,” The Lone Bellow reminded us to keep our heads up and our hearts open in the face of adversity, something to hold on to for a fresh start in the new year.

“Alison” – Jamie Drake

Gearing up to release her solo album Everything’s Fine in 2019, alt-folk singer/songwriter Jamie Drake joined us in Los Angeles and regaled us with her immaculate tune “Alison.”

“Different, I Guess” – Lilly Hiatt

Lilly Hiatt, in the way only she can, ponders the dangers and glories of being vulnerable and allowing yourself to fall in love.

“Coming Down the Mountain” – Mipso

Mipso muses on retreating from the madness of society in this beautiful song, taken from their 2017 album of the same name.

“Took You Up” – Courtney Marie Andrews

Courtney Marie Andrews’ breathtaking vocals stunned us once again in a solo acoustic version of this track from her latest album May Your Kindness Remain.

“Thirty” – The Weather Station

The Weather Station (AKA Tara Lindeman) gave us the haunting and tense, yet fluid, “Thirty” from their self-titled album. They met us to perform the song at BOK, a historic Philadelphia trade school, closed five years ago, now re-purposed for its space to be used by the community for small businesses, job training, non-profits, and more.

“Firestarter” – Andrew Combs

And to close out the year, we have singer/songwriter Andrew Combs with a solo acoustic performance of this captivating, previously unreleased tune.

A Musically Fashionable Reunion, Luck-Style

Posted on March 22, 2018 by Editor

“Damn, I forgot how good-looking everyone is in Texas!” the woman next to me said, as we approached the gates of Luck Ranch. My smile was equal parts Texas pride and pure excitement, as I took in my hill country surroundings — an oasis amidst the SXSW madness. The women, men, and kids sharing Willie Nelson’s ranch for the day rocked various combinations of leather boots, chain-stitched denim, hand-crafted hats, and custom jewelry, as well as other items rooted in traditional craft. If you didn’t arrive in any of these items, there’s a good chance you left with one, after visiting the skilled Luck vendors. I know I did!

On the repurposed set of the 1986 film, Red Headed Stranger, the annual Luck Reunion draws a specific audience in with its well-curated line-up of artists, vendors, and other creators who “cultivate the new, while showing honor to influence” in their work. It’s hard to believe this idyllic, single-day music festival wasn’t a mirage or dream induced by way too much of Willie’s Reserve. Here was a damn good-looking group of people listening to some damn good tunes.