With Day Jobs on Hold, These Acoustic Musicians Go Solo (Sort Of)

The widespread shuttering of the music industry during coronavirus has given many musicians, bands, and artists the opportunity to inspect and reconfigure their priorities. In the many months since COVID-19 was declared a pandemic, this phenomenon has been well-documented in writing about music — music released as a result of the coronavirus or released in its all-eclipsing shadow, both. Artists have altered so many of the ways they interact with and create music and watching creatives respond to this worldwide cataclysm has been all at once entrancing and existential. 

Especially in instrumental music. Especially in instrumental music made in the off time — away from the “day job,” the main gig, or perhaps, again the off time afforded by COVID. In the gaps, where life allows, acoustic musicians in bluegrass, Americana, and old-time have been exploring the existential questions brought about by the pandemic — and also often by parenthood, by identity, by health and well being, or simply by the pursuit of self — in endlessly fascinating musical endeavors.

Andrew Marlin, co-frontperson of longtime Americana string duo Watchhouse (formerly known as Mandolin Orange) released not one but two albums of such endeavors this year, ostensible results of introspection of his role as a father, fighting-while-resigning-to the day-to-day beauties and fears within fatherhood. There’s a bleak, beautiful nakedness to “The Jaybird,” off Fable & Fire, an age-old sounding fiddle tune with sleek, modern simplicities that seem to indicate the gorgeousness possible from being still, watching, waiting, and listening. 

On Witching Hour, “Too Hot To Move” isn’t a barn burner, it’s a Musgraves-level slow burn; a tepid, mosquito-laden, languid afternoon on a back porch, the air thick with humidity. Again, striking in its display of the delectable everyday, in not just occupying the same place with the same people daily, but inhabiting that place with intention. Marlin’s backing band of Clint Mullican (bass), Josh Oliver (guitar, piano, and more), Jordan Tice (guitar, bouzouki), and Christian Sedelmeyer (fiddle) is largely consistent between the projects as well, reiterating this point.

Sara Watkins, known for many a “main gig” — whether that be Watkins Family Hour, Nickel Creek, or I’m With Her — released another fantastic solo offering, built on many of the same tenets evident in Marlin’s recordings. Under the Pepper Tree, whose title track is the album’s sole instrumental, is a whimsical, winking collection of near-lullabies and other ageless classics rendered as only Watkins could, with pop underpinnings and gloss, but a worn, charming patina of bluegrass and Americana via the American Songbook and its associated canon. 

“Under the Pepper Tree” listens like a fiddled campfire coda to a day on the trail; or, similarly, as if a goodnight to Watkins’ young daughter, after returning from tour. While the album as a whole carries the movement and adventure of the Wild West, as well as theatre and cinema and gaiety, its sense of place — of rootedness — is remarkable, especially in “Under the Pepper Tree,” oozing of lessons learned and intentions made underneath its boughs through pandemic isolation. 

Continuing on fiddle, Mike Barnett’s non-Ricky Skaggs & Kentucky Thunder project released in 2020, +1, feels like somewhat familiar territory, a collection of duets with friends and musical compatriots that stretches out purposefully and athletically from his tours with the Country Music Hall of Famer (who also appears on the album). “Piece O’ Shrimp,” with guest Alex Hargreaves on twin fiddle, is wonky, newgrassy, orchestral, and sly with old-time baked in and a dash of Darol Anger & Mike Marshall’s duet work. 

The poetry in the tune, and the entire project really, came from a health-related pausing of a different kind, though. While the rest of us felt the world halt due to the coronavirus, Barnett’s record release, as well as his performing career, were unexpectedly paused when Barnett suffered a cerebral hemorrhage in July 2020. This collection of songs gains an entirely new meaning, not only in the context of COVID-19, but also as a waypoint on Barnett’s journey through music, his recovery, and his eventual return to playing. Still in in-patient rehabilitation and therapy, Barnett posted an update via GoFundMe (support here) in February 2021 that closed, “…A full recovery is possible and likely!” 

Finally, to conclude our foray into solo instrumental explorations, Sam Armstrong-Zickefoose, multi-instrumentalist and songwriter of Meadow Mountain, considers ideas of place, identity, and belonging on his upcoming crowdfunded release, Spark in Your Smile. Decidedly forsaking tradition-adjacency, perhaps more than might be expected if a listener’s entry point is Meadow Mountain, the album is a testament to Armstrong-Zickefoose’s commitment to community building; he’s utilizing music and creative expression for that purpose. The expansive quality of the project’s lack of genre conjures joy first and foremost, especially on “Mona,” and globe-crossing communities as a near second, each instrument, texture, and tone evidence of what’s possible when roots music allows folks to be and to belong. A priority high on everyone’s list, but especially queer folks in bluegrass, old-time, and Americana like Armstrong-Zickefoose.

As touring bands return to the road, it will continue to be fascinating to watch musicians navigate the reconfiguration of their priorities — and how they will continue to carve out the time to express themselves, instrumentally and otherwise, while life, and the music industry, charges on ahead.


Photo credit: Sara Watkins by Jacob Boll; Andrew Marlin by Lindsey Rome.

Mandolin Orange Changes Its Name, Unveils New Video as Watchhouse

The duo Mandolin Orange have surprised fans with a new video and a name change to Watchhouse. Band members Andrew Marlin and Emily Frantz shared on social media, explaining how their former band name didn’t necessarily encapsulate their personal songs.

They wrote, in part, “This past year has been the first time we’ve stayed still since we were 21, and the pause gave us the opportunity to sit with ourselves and set intentions. We have long been burdened by the dichotomy between our band name and the music we strive to create — if you’ve heard the songs, you know they are personal. Now that we can see a future where music is a shared experience again, we’re defining the space we share with you on a stage or in your headphones, and making it one that welcomes our creativity and anyone who wants to listen.”

The band’s most recent project has been 2019’s Tides of a Teardrop, although Marlin released two instrumental albums earlier this year. To coincide with the announcement revealing Watchhouse, the band released a new video for the song, “Better Way,” produced by Josh Kaufman and released via Tiptoe Tiger Music / Thirty Tigers. Take a look:


Photo credit: Kendall Bailey

LISTEN: Alex Heflin, “Guest Room”

Artist: Alex Heflin
Hometown: Los Angeles, California // Morgantown, West Virginia
Song: “Guest Room”
Album: Room for Everyone
Release Date: March 26, 2021
Label: Hat Full of Rain Records

In Their Words:Room for Everyone as an album was intended to highlight that inclusivity in both genre and personality always adds interest and excitement to a medium. ‘Guest Room’ is meant to represent the core of this message. In a somewhat nontraditional band setup, the mandolin is the focal point of this upbeat ‘Nashville funk’ tune. I played mandolin and guitar on this track and I was lucky enough to have Nick Campbell (bass), Jordan Rose (drums), and Swatkins (keys) fill out the rest of the song. I originally got the idea to write a tune in this style after hearing Chris Thile play with the Fearless Flyers. That idea sat in the back of my head for more than a year before I sat down to write what would become this song. From there I recorded the mandolin and guitar and the rest is history!” — Alex Heflin


Photo credit: Caitlin O’Connell

BGS 5+5: Giri Peters

Artist: Giri Peters
Hometown: Nashville, Tennessee
Latest Single: “Fallin'”

Which artist has influenced you the most … and how?

I am inspired by so many amazing musicians, but if I had to choose one it would be John Mayer. It is super inspiring for me to see someone who incorporates a hint of blues and folk music in their style become one of the world’s biggest artists. It is not often where you find people of his caliber carrying on the sounds of authentic music and incorporating it into their own songwriting and musical style. I also love the way he uses his instrumentation in his songwriting, and that is something I aspire to do as well. In my mind, he is one of the greatest guitar players alive. While his songs aren’t all super complex he succeeds at creating hits with simple soulful music. He does just enough to get the point across. I also love watching him blur the genre boundaries within the mainstream music industry, and that is something that I think about often too because I am inspired by so many different musical styles.

What’s your favorite memory from being on stage?

My favorite live performance I have done was a Ted X showcase at the Schermerhorn Symphony Hall here in Nashville. Even though that performance was a couple years ago, and I have improved so much musically since then, it was such a special memory. I had gone to the symphonies ever since I was 2 years old. I remember one time going to the Schermerhorn to watch the symphony perform, and after I got to meet some of the players. I was always in awe of that stage, and I never would’ve imagined getting to play it some day. I had gone to see Punch Brothers and some other amazing acts perform on that stage when I was a little older. For me, when I got on stage I was so nervous just knowing that this was the exact same stage I had idolized since I was around 4. It was an amazing show that I will never forget, and it gave me inspiration to keep going knowing that I was able to make a dream come true.

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

I have been a music lover ever since I was born. I moved to Nashville when I was 4 years old, and I started taking violin lessons as soon as we moved. I then picked up mandolin, and later the guitar. I eventually moved away from classical music and I have been experimenting with different styles ever since. Only recently have I felt like I truly found my sound and style. Most of the music I write is within the folk/Americana genre with influences from other styles and sounds. I was around 4 or 5 when I first started going to concerts and as soon as I watched amazing artists, I knew that I was going to be a musician. My mind to this day has never changed. It was only when I started getting older, and when I began venturing into different styles such as bluegrass that I decided I wanted to be a touring musician. Someday I hope to tour the world with my guitar and my violin, and share my songwriting across the globe.

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

There was one time a few years ago when I was getting down about wanting to be a musician. At the time there were many problems going on within the world, and I wanted to do something about it. I felt like my life would be useless unless I could help the world, and leave a mark somehow. At the time, I was lost regarding how I was going to do that with my music, but right around that same time I discovered songwriting. Ever since that day, I decided I would write about real world problems, and that when I didn’t write directly about world issues, I would use my music as a platform to do my part in making this world a better place. Even though I am still at the beginning of my journey in doing that, I will never lose sight of that vision. My songwriting is also my way of coping with life and the experiences I go through. Often I find that many other people feel the same way or have been through similar experiences. It is so amazing to me how songwriting has the ability to connect everyone no matter who they are, where they live, what they believe, or what they look like; and I believe that it is the greatest tool we can use to help connect human civilization.

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

I love the sun. Light gives me so much inspiration and happiness. There is something so inspirational about watching the sunrise and the sunset everyday. For me it never gets old. Especially while watching the sunset, I have found that I create my best work. It is a small reminder of how beautiful the world is out there, and it is hard to remember that nowadays because most of us have been stuck in our homes for more than a year. I love writing songs during the sunset, and I get the perfect view of it everyday from my room. I always try to get as much writing or recording done while the sunset is happening simply because it brings out the best artist in me.


Photo credit: Uma Peters

WATCH: Billy Strings and Sierra Hull Cover Post Malone’s “Circles”

In the wake of his 2020 Streaming Strings tour, Billy Strings shared clips from the tour’s various performance nights across multiple Nashville venues. This particular release is a special one, as Sierra Hull joined Billy and the band for a feature at the Brooklyn Bowl. The song? Bluegrass staple, “Circles” by Post Malone. Or at least they make it seem as if “Circles” was always a bluegrass tune.

In this cooler-than-life cover, Strings sees beyond the gap that divides bluegrass and pop music, connecting his affinity for the spacey to Post Malone’s contemplative vibe. On paper, it seems like a very unusual comparison, but a deeper look might reveal that the mood of Malone’s recording of “Circles” is similar in many ways to the moods of “While I’m Waiting Here” or “Away from the Mire” by Strings. With Malone’s recent country covers going semi-viral (plus rumors of a country double album and social media evidence of a developing friendship between him and Strings), the combination actually makes a lot of sense – besides just being damn cool.

In concert, Billy, his band, and Sierra Hull are able to pull “Circles” off with conviction.


Photo credits: Billy Strings by Emma Delevante; Sierra Hull by Gina Binkley.

With Two Instrumental Albums, Andrew Marlin Offers a Scrapbook and a Picture

It’s been two years since Mandolin Orange’s prior album, Tides of a Teardrop, which took them everywhere from the stage of Nashville’s fabled Ryman Auditorium to a placement on the Billboard 200 album chart. Since touring for that album wound down, the duo of Andrew Marlin and Emily Frantz has been mostly hunkered down at home in North Carolina, tending to their young daughter Ruby while riding out the pandemic.

Marlin has also used the time to develop a growing solo-album habit, releasing instrumental collections. February saw the near-simultaneous release of Witching Hour and Fable & Fire, following up 2018’s Buried in a Cape. And while both albums feature the same cast of players from Mandolin Orange’s circle, each has a very different feel. Witching Hour is billed as “A Sonic Account Of How The Journey Within Has No Destination,” while Fable & Fire is “A Soundtrack To Quotidian Wonder.” BGS caught up with Marlin by phone on the day before his 34th birthday.

BGS: How old is your daughter now?

Marlin: Almost two-and-a-half. It’s been a lot of not sleeping, but a fun time, too. She likes to strum a little bit. There are certainly instruments we don’t let her play, but we do have a few beater guitars we let her have some fun with. She loves to sing, too, she’ll break out in song randomly all the time. “Lonesome Whistle” from that record we put out in 2016, Blindfaller, she loves to sing that song. She has such a good memory on her, it’s amazing. All kids probably do, it’s just that she’s the only one I’ve ever spent that much time with. It’s fascinating, how much she retains and can recite.

Do you spend much time practicing?

It varies. I did sit down with a metronome and my first cup of coffee this morning to work on some tunes. I came to the mandolin “late,” at 20, when I feel like my favorites started when they were 7 or 8. In terms of foundational skills, I have to go back and relearn some things. I love the instrument so much, I want to think in terms of longevity. Figure out techniques that keep me relaxed without hurting myself on it. And if I get an idea, a melody that hops into my head, I’ll follow it because the most important thing is to keep writing. I try to be aware of my body, stay in tune with what’s happening. If I feel cramps or aches, I’ll stop and try to assess what’s happening. That’s the reason to practice technique, to relax and be comfortable without overworking joints harder than you need to. I hope to prevent that, but I do play a lot and time is not on my side.

It’s not unusual for guitar players to own multiple guitars, but what about mandolin players?

I can actually kinda mark what year something was based on which mandolin I was playing. For the past 11 years, I’ve gotten a new one about every two years. I finally got a Lloyd Loar in January of 2019 and I think I found my mandolin, at least for a while. There are all these different aspects of tones you want to get, and it’s different from player to player. Different instruments make you play different things you normally might not think of. It completely rearranges my musical mind, playing different instruments. As much as I envy my heroes having iconic instruments they always use, I enjoy picking up different mandolins, the different voices you get.

They’re almost like little people. You don’t tell your friends how to act, so why would you tell an instrument how to sound? Just work within what it does best and it will teach you how to pull out different aspects of your playing. All the songs on Fable & Fire were written on a Gibson A2 1921 that I bought on a whim on reverb.com, and it turned out to be a great little tune-writer. Every time I pick it up, seems like I write a song on it. And I wrote all the songs on Fable & Fire on that little instrument in about four weeks. I didn’t record with it because when it comes down to a record, I’d rather use the Lloyd Loar. I know its voice and tone, how to work its dynamics. But that little A2 has a very cool little voice, too.

How do you differentiate these two albums?

For me the concepts set them apart. They have very different grooves, melodic ideas and modes. Witching Hour was written over two years’ time, where I basically just took a handful of tunes I thought were strong enough to put on a record. So that’s what you hear, two years’ worth of material. But Fable & Fire is very cohesive start to finish, a set of songs written to be played side by side with each other. Witching Hour is a scrapbook, Fable & Fire is a picture.

Fable & Fire, especially, has some pretty exotic song titles. What does “Leeward Shore/Crooked Road to Bracey” mean?

(Fiddler) Christian Sedelmyer’s girlfriend Alexis really likes the sound of the Gibson A2 I wrote those songs on. She kept trying to convince me to play that mandolin on this record, and I wanted to honor the fact that she’d really listened and cared. Her middle name is Lee, what could I do with that? Well, leeward shore is the shore that faces the wind, an old nautical term. I named that A2 “Gale” because it has this sound that feels like it moves a lot of air — I joke that it could blow a candle out. So I thought it was fitting to call the first part of that medley “Leeward Shore,” the shore-facing wind, because she was such a proponent of Gale.

Then “Crooked Road to Bracey,” that’s a town not far from where I grew up. Just over the North Carolina line in Virginia, and it was the only close-by town with an all-night diner. So if we were super-hungry at 4 a.m., we’d hop in the car and go to Bracey. Pretty nerdy! But you’ve gotta find inspiration somewhere. Stories like that end up being part of the bones of these tunes. But one of my favorite parts of instrumental music is that it’s all irrelevant once someone else starts to listen. That’s important now especially, because everybody needs something to latch onto. Instrumental music is so open, it allows an infinite amount of interpretation.

“Hawk Is a Mule” is another — and also the only words you say on either record. What’s that story?

We were on the West Coast for the Buried in a Cape tour. Clint (Mullican) the bass player can spot a hawk from a mile away – he sees them before they see him. He kept pointing out all these hawks as we made our way toward Canada. And being East Coasters, well, we were excited to hop on into the dispensaries out there. We, um, accumulated quite a bit and wondered what to do with it before crossing into Canada. It became a joke, training a hawk to carry it into Canada for us, “like a drug mule but a hawk.” I ended up calling that melody “Hawk Is a Mule,” and that’s how it came to be. Just a bunch of people in a van making fun jokes.

In terms of writing, are instrumentals easier to come up with since they don’t have words?

It depends on the mindset I’m in. I’ve practiced the mandolin a lot in quarantine and also listened to a lot of instrumental music, so that’s been easier to write because of what I’m into now. When I sit down to write, I try not to force it. Just do what I’m into and play what I feel, and right now instrumentals are what I’m into.

Out of these 21 songs, which are your favorites to play?

They’re all right in my wheelhouse since I wrote them, but some really translate with the band. “Oxcart Man” on Fable & Fire, I love the way that one feels. It has a lot of ins and outs that give it a lot of life, especially Nat (Smith) on the cello. He’s able to go back and forth between plucking and powerful bowing. I don’t know how he does it but he works the dynamics beautifully, especially on that tune. The tone of the cello makes it almost seem to hide itself, but if you muted that it would take a lot of the pulse out of the tune. What the guys do on that song makes it one of my favorites.

Another is “Farewell to Holly Bluff/The Watch House.” Everybody really pushes the tone on that one. I hardly play that melody at all because it was so great to be part of the rhythm. Jordan (Tice) is a great lead guitarist, but he’s the rhythm engine here and ended up doing a lot less melodic passes than rhythm. His drive is a key element of both records.

“Jenny and the Dulac,” the last song on Witching Hour, has a groove and major-minor feel that’s unlike anything I’ve ever done before instrumentally. Christian and Brittany (Haas)’s twin fiddle parts really elevated that moment to where we were looking at each other going, “This is the coolest shit ever, let’s never let this song end.” Everybody was exploring the fretboard in a way that did not seem forced, just wide open. I love everybody’s solos, they all have a lot of personality.

Besides music and the people close to you, what do you look to for inspiration as a writer?

It’s less about looking for things and more about being open to it when you feel it. Either you turn those receptors on, or off. I’ve been writing since I was 14 and it’s been a major part for so long that I’ve almost always got the receptors on. Lately, especially, some of the instrumental titles come from snippets of children’s books I read to Ruby. And the other day, we were at the park and heard some people singing “Happy Birthday” to a little kid named Leo. That got me to thinking: “It’s Pisces season, a Pisces named Leo, that could be a fun thing.”

The muse is important to just keep on so that when something presents itself, I can snatch it and hold onto it forever. Not to get too heavy about it, but it does come at a cost. I’ll be talking to people about a memory of theirs from a tour five or six years ago, and realize that if you keep those receptors on so much you might not be quite as present as you want to be. It’s a balance, especially with Ruby. I’ve learned to turn that off when I need to so I can be very present with her. I’ve seen just how fast time with her flashes by. I don’t know where the last two and a half years have gone.


Photo Credit: Lindsey Rome

LISTEN: Jesse Brewster, “Amber Kinney”

Artist: Jesse Brewster
Hometown: San Francisco, California
Song: “Amber Kinney”
Album: The Lonely Pines
Release Date: March 5, 2021
Label: Crooked Prairie Records

In Their Words: “This is the second song I ever wrote on mandolin as I’m relatively new to the instrument, but I love the different colors it gives me to work with. ‘Amber Kinney’ is set in a fictional town in 19th century Ireland, and is about a mistreated wife who finally gathers the courage to leave, under cover of darkness. Side note, this was largely written late night in the chill of the garage — the only place I could make noise at that hour as I hadn’t finished the studio yet.” — Jesse Brewster


Photo credit: Nino Fernandez

WATCH: Sierra Hull Draws on Animation in “Beautifully Out of Place”

Sierra Hull, an accomplished instrumentalist, vocalist, and songwriter who also co-hosted the IBMA Awards this year, notched another career highlight this fall. In her first fully animated music video for “Beautifully Out of Place” she offers a refreshed meaning to the song, now set to the story of a girl walking through her day and noticing beauty in many modest places. Be it a flower growing through the sidewalk or silhouettes forming in the clouds, the main character finds herself more open to the lyrical message of “Beautifully Out of Place.”

Hull’s latest album, 25 Trips, features several heavy-hitting songs such as this, featuring positive themes, skillful singing, and weightless picking. In an interview with American Songwriter, Hull echoes this song’s sentiment, saying that the message holds true in the world even now; during an unprecedented time of uncertainty and unrest, there is still abundant beauty to behold. By the way, her song “Ceiling to the Floor” (also from 25 Trips) is up for a Grammy Award in the category of Best American Roots Song. Watch “Beautifully Out of Place” below.


Photo credit: Gina Binkley

Artist of the Month: Sister Sadie

Stepping out with a number of the most talented women in bluegrass, Sister Sadie made an impressive showing in 2020, with a first-ever win as IBMA Entertainer of the Year and a repeat for Vocal Group of the Year. Plus, their fiddler Deanie Richardson picked up two more trophies as Fiddle Player of the Year and Collaborative Recording of the Year (for her appearance on Becky Buller’s “The Barber’s Fiddle.”) The accolades confirm what bluegrass fans have long known: There is room for everyone in the genre, regardless of gender. In fact, Sister Sadie is the only all-female group to win bluegrass’ top award.

“Bluegrass is traditionally viewed as a male-centric genre, but a genre that is rooted in the Appalachian sounds of Mother Maybelle Carter,” says Tina Adair, the band’s vocalist and mandolin player. “We’re proud of this honor. There’s a lot of purity and traditionalism in this genre, but a lot of progressivism, too. We love getting to contribute new perspectives to a style of music that has shaped us all.”

“We’re all over 40 and proud to be on the front lines to show other women that they can also achieve their dreams,” Richardson says. “We’re proud to expand the ways people hear and view bluegrass, too. To us, it’s a musical national treasure that can be traced back to the foundation of our country, and it tells a story of a landscape, a culture, a mindset, and a struggle to overcome the odds. It’s in our blood.”

All three members of Sister Sadie are accomplished recording artists in their own right. In 2019, Deanie Richardson issued a solo album (Love Hard, Work Hard, Play Hard) as well as a lively record with a side project known as The Likely Culprits. IBMA Award-nominated Banjo player Gena Britt also submitted an excellent collaborative record in 2019, titled Chronicle: Friends and Music, while Tina Adair continues to record as a compelling solo artist.

In 2020, Adair also partnered for a wonderful covers album with Dale Ann Bradley, who departed Sister Sadie in November to travel with her band exclusively in 2021. The sisterhood remains, though. A recent Instagram post by the band concludes, “Because our friendship takes precedent to our musical goals, we celebrate each other in every way possible whether it’s tied to Sister Sadie or any of our other efforts. We’re beyond thrilled for Dale Ann as she charges forward with her solo career and are equally excited to see what unfolds for Sister Sadie.”

Sister Sadie has already contributed to the modern bluegrass canon with 2016’s self-titled album, followed by 2018’s Sister Sadie II. Read an interview by Tristan Scroggins with the band’s three members here. While you’re at it, check out the breadth of Sister Sadie’s catalog in our Essentials playlist.


Photo credits: Deanie Richardson by Kerrie Richardson; Tina Adair by John Dorton; Gena Britt by Mike Carter

BGS Wraps: Frank Solivan, “Have Yourself a Merry Little Christmas”

Artist: Frank Solivan
Single: “Have Yourself a Merry Little Christmas”
Release Date: November 6, 2020

In Their Words: “This holiday season I thought it was important to share a song that reminds us of the Christmas traditions that unite us. Reunions with friends and family, warm memories of olden days, and hope to once again gather together with an embrace and a kiss. … I found the lyrics particularly meaningful this year, and I hope it brings some comfort to those needing it. So please, ‘Let your heart be light. Someday soon we all will be together. Until then, we’ll have to muddle through somehow. So, have yourself a merry little Christmas now.’” — Frank Solivan


Enjoy more BGS Wraps here.