Maya de Vitry, Ethan Jodziewicz, Joel Timmons, and Shelby Means are on Basic Folk today talking about their new collaborations. Maya produced both Shelby and Joel’s debut solo albums this year; Joel and Ethan play in Maya’s band; and the two couples (Joel & Shelby are married and Ethan & Maya are partners) are all very close friends. They met in Nashville, where Maya & Ethan still live, while Joel & Shelby live in Charleston, South Carolina. Joel talks about the huge gesture Shelby made in leaving Nashville behind for his hometown of Charleston. He also talks about the elated feeling they both got when Shelby, who also used to tour with Della Mae, got the chance to play upright as a member of Molly Tuttle & Golden Highway.
Big themes of this friend group include trust, lifting each other up, and being one another’s “vibe coaches.” In our conversation we talk about choosing love, connecting with your music friends in non-musical ways, and, of course, the most epic hair in Americana: Joel Timmons and his mullet. The group shares insights on how they are still close and able to connect and spend time with each other despite the distance. Short flights and drives are worth it when you’ve got friends like this.
Photo Credit: Shelby Means by Hunter McRae Photography; Ethan Jodziewicz by Joel Timmons; Joel Timmons by Scott Simontacchi; Maya de Vitry by Kaitlyn Raitz.
Somehow we’ve already arrived at August!? How did that happen? At any rate, there’s no better way to kick off the month than another brand new edition of You Gotta Hear This.
This week, we have a small but mighty collection of country and folk. Just a couple of days ago husband-and-wife duo Alyssa & Wayne Brewer announced an upcoming album, Lonesome & Blue, slated for release in September. To celebrate the announcement, they dropped the title track and lead single and for our roundup they’re sharing its accompanying music video for the first time. Watch below.
Plus, singer-songwriter Hannah Delynn gives a sneak preview of “Jealousy,” her third and final single from her upcoming September release, Trust Fall. Out next Friday, the number was produced by Maya de Vitry and is anchored by emotive piano, exploring the depths and catacombs of often squashed emotions.
To wrap things up, Texan country veteran Sunny Sweeney releases her new album Rhinestone Requiem today, so we’re spotlighting an as-yet-unreleased track, “Find It Where I Can,” that’s twangy, honky-tonkin’, and rocking and rolling, too. Congrats on the new LP, Sunny!
It’s all right here on BGS – and You Gotta Hear This!
Alyssa & Wayne Brewer, “Lonesome & Blue”
Artist:Alyssa & Wayne Brewer Hometown: Nashville, Tennessee Song: “Lonesome & Blue” Album:Lonesome & Blue Release Date: July 31, 2025 (single); September 12, 2025 (album) Label: Sony/Orchard
In Their Words: “‘Lonesome & Blue’ is our first original offering as A&W Brewer. This song is our interpretation of a classic country tune written in our modern-day time. It’s a forbidden love, sad country song that was written to closely mirror the tumultuous relationship of George Jones and Tammy Wynette. In the video, we not only act out the tune as the characters, ‘Lonesome’ & ‘Blue,’ but also act out the characters’ daydream fantasy of being together as shiny country music stars. In the end, because of life, it doesn’t work out.” – Alyssa & Wayne Brewer
Track Credits: Alyssa Brewer – Vocals Wayne Brewer – Acoustic guitar, vocals Gary Brewer – Electric guitar Tom Killen – Pedal steel Mason Brewer – Drums
Video Credits: Director of Photography: Kevin Bryan, Visual Poet Studios Dave Santiago – Bartender Alyssa Brewer – Video editing, production Wayne Brewer – Executive producer
Hannah Delynn, “Jealousy”
Artist:Hannah Delynn Hometown: Nashville, Tennessee Song: “Jealousy” Album:Trust Fall Release Date: August 8, 2025 (single); September 5, 2025 (album)
In Their Words: “‘Jealousy’ is a journey through emotional alchemy, I’d say. It’s certainly a vulnerable one and when Maya suggested we put it on the record, I was admittedly a little scared!
“So often, I think we shy away from difficult emotions because they feel shameful. They’re hard to look at, definitely – but I believe that beneath any feeling, even those which are seemingly abhorrent or benign, is an innocent desire. There is a deep chasm of pain with gold waiting within it. If we can just push past the discomfort, we can find what we’re really looking for. It’s a freeing reframe.
“Perhaps the feeling of jealousy, deep down, is a desire to be seen and recognized, to feel we belong. Who doesn’t want that? Instead of getting curious, however, we often bury or project these things in unhelpful ways, creating distance instead of closeness with ourselves and with others. Jealousy isn’t about what anyone else has; it’s about what we already have inside –we’ve simply lost sight of it.
“Following it as a sort of internal compass can connect us with that desire underneath, to recognize ourselves instead of seeking it elsewhere. It can free us from comparison and allow us to embrace our own light and celebrate the light of the other luminous creative beings all around us. (That’s everyone). Besides, the glory of a night sky is billions of stars beaming back at us… What fun would there be in seeing only one single light shining up there all by its lonesome?
“I’m so grateful to my dear, brilliant friends Alex Wilder and Lizzy Ross for sharing their bright light with us all. Alex created the beautiful piano parts within the song. I love, so very much, that the harmonies were a spontaneous unfolding between us three friends who love singing together. Also, it says quite a lot about Clare that we could write a song about jealousy together. The trust, the openheartedness, the non-judgment… may we all be that kind of friend and collaborator to one another. This whole team is bursting at the seams with bright, beautiful stars. Making this with them feels like I made a wish and it’s coming true.” – Hannah Delynn
Artist:Sunny Sweeney Hometown: Houston, Texas Song: “Find It Where I Can” Album:Rhinestone Requiem Release Date: August 1, 2025 Label: Aunt Daddy Records
In Their Words: “‘Find It Where I Can’ is about that ache you get when love turns cold and you start looking for warmth anywhere you can find it. It’s not about being reckless… it’s about being human. I heard Jerry Lee Lewis’ version of this song at a time when I had just gotten out of a long relationship filled with lonely nights – not single, just lonely. There’s a specific kind of ache that comes from loving someone who stopped reaching for you a long time ago. This song doesn’t point fingers. It just says, ‘Hey, I’m still here, and I still need something real. If you can’t give it to me, I’ll find someone who will.’ It’s really just a line in the sand.” – Sunny Sweeney
Photo Credit: Sunny Sweeney by Nash Nouveau; Hannah Delynn by Betsy Phillips.
Although she spent a decade living and playing music in Nashville, most notably as the bassist for bluegrass group Della Mae, Shelby Means is now settled in Charleston, South Carolina, where she says she appreciates being closer to her family and so much beautiful nature. Throughout a back porch Zoom call about her self-titled bluegrass album, she also praises her producer, Maya De Vitry, a fellow singer-songwriter and former bandmate of Means’s husband, Joel Timmons. To hear Means tell it, De Vitry helped her pull together the masterful band on the collection. The session players read like a who’s-who of bluegrass’ finest: Jerry Douglas, Billy Strings, Sam Bush, Molly Tuttle, Ronnie McCoury, Sam Grisman, Bryan Sutton, and on and on.
Granted, players such as these have a way of winding up in recording studios together. But rarely is the bass player at the mic, directing the traffic. So, to mark this rare occasion, BGS got Means on Zoom with bassist/songwriter/bandleader Bridget Kearney (Lake Street Dive, Joy Kills Sorrow), whose 2023 solo album Comeback Kid also had the bassist at the wheel.
When I see projects like yours, Shelby, I’m always interested in the community of it all. These folks play on a lot of people’s albums, but when somebody different is in the front, it shifts the vibe. It brings out something different. I hate to gender something like this, but there’s something different about feminine energy being out front, so I wanted to just start there.
Both of you have played in women-led projects. You’ve done solo stuff. You’ve backed up other people. And you’ve both been doing it a long time. What have you noticed about how the vibe changes, or how the community plays, when a woman is at the front?
Shelby Means: Well, Bridget, have you ever been the only woman in a band?
Bridget Kearney: Yes.
SM: I think I have, too. But when I was much younger. Then, when I moved to Nashville, it seemed like, even if the band was being led by a man, there was usually at least one other woman, which I found very useful and helpful. [There was] solidarity.
BK: Yeah, I feel like I’ve often been in bands that are a mix. Lake Street Dive is a mix, and Joy Kills Sorrow was a mix. So I guess the only thing I’ve never been in is an all-men band. I tend to like it when there’s a mix, when people are bringing all sorts of different perspectives into a band. When I’m putting a band together for a project, I’m always making sure I’m leaving all the possibilities open. I think that’s the most important thing: making sure everyone’s at least getting in the door to get interviewed.
SM: I think it’s super balanced when there’s men and women. It feels yin/yang. Like the whole thing is present.
Which is interesting, considering Della Mae is an all-women band. Do you feel like there was imbalance in that? Or like that’s just a whole different vibe.
SM: Yeah, it’s a whole different vibe. It was a great experience being part of an all-female band. We had some amazing opportunities because we only had women in the band. For example, going to Pakistan and being able to perform for colleges that were all women. It was some of those women’s first time ever seeing a [musical] performance … because they aren’t allowed to go out and see shows, especially unaccompanied. So those experiences were totally amazing and worth whatever it was that made it feel slightly imbalanced. … I’m very new to putting my own band together. But because I’ve enjoyed being in projects with a balance of male and female energy, I do kind of want to make sure that I get boys and girls, or however you identify. It doesn’t matter to me, you know.
Back to the community thing, though. I’m thinking about jams at festivals, and how bluegrass works. Somebody steps to the front and takes the solo and that kind of vibe is on this record. How did you feel to get to lead the band for the first time?
SM: It was amazing. And I want to give a lot of props to my producer, Maya De Vitry. When you think about her and I teaming up together, and calling Sam Bush, Jerry Douglas, Bryan Sutton, Ron Block—all the the big names on the record—and basically being in charge of them, that was something else. We respect them so much and look up to their music. … We’ve listened to that stuff growing up, so it’s really cool to be in a position of [directing] those cats. They totally respected Maya and me, and looked to us for direction like they were on the team. I remember Maya saying, before Day One, “Jerry Douglas is a human being. Ron Block is a human being. Maya De Vitry is a human being.” Like, we’re on the same playing field in the fact that we’re all humans. Obviously all of us feel nervous or scared at some point, so we can relate on those things and just take the pressure off a little bit.
We’re all in the folk roots, Americana, bluegrass, whatever you want to call it world, where everything is community-centric, and of course you’re touring all the time so you know people everywhere. But I think especially right now in the world, the idea of bringing people together with different skill sets to collaborate and make something beautiful feels really heavy and important. Heavy in a really good way. Do you feel like that is a priority to you, or does it feel more about just music and art for art’s sake?
SM: Well, they’re similar, those. I feel music for art’s sake is like music for the heart. I mean we have to [make music]. But it does help that we’re bringing people together. And hopefully people are gonna come out and see the show and we’ll have an experience at the show that can potentially transcend any sort of darkness or whatever it is that’s going on in each person’s [life] or the collective world. … I’ve had an experience recently where we’re watching a band. And just because I’ve had some grief and things going on in my life, it just was flowing. Like, I was crying and enjoying the concert. I was there feeling it with my bandmates, we were all together having a crybaby moment, letting our emotions go, and feeling safe in that environment to do that, which I think is very important.
BK: One hundred percent agree. I think the pause in live shows during COVID lockdown really highlighted that for me, because there was this long period where that wasn’t happening. The first time I went back to a music festival, the band that was playing before us was The War and Treaty. Same thing. I was just in tears, like this is so powerful. Their songs are so good. All these people came from far and wide, and they’re in the same place, and they’re singing along. It’s truly the most connective force that I see.
Both of you play bass, which requires you to be the support system for the band. I don’t know why it seems that upright bass is a male instrument more than other instruments. Maybe because it’s so big and it’s so low, and it’s harder to press the strings down. But can you talk a little bit about being, specifically, women bassists?
SM: We could probably talk for hours about that. It’s always fun whenever I get together with another bass player in general, because we often don’t [get together]. There’s many times where, if there’s somebody sitting in, it’s another fiddle player, another banjo player. Often another bass player isn’t asked to sit in, so we don’t get to hang out very frequently. But when we do, it’s really cool.
For me, growing up, my dad and my brother definitely enabled me. They would carry my bass around at jam sessions. At a certain point, when I was in high school and college, I had the gumption. I wanted to do it. I would carry the bass down the hall. I got one with backpack straps, so I would have to hunch over because the hotel halls are usually too short to fully stand upright and carry a bass on your back. You look like a little turtle. … I tried other instruments, but the bass was the one for me, despite its size and physical nature.
BK: For me, one thing that was influential with choosing the bass was that where were some examples in my life of women who played the bass. Actually, my first three bass teachers were women. There was an amazing bass player, Diana Gannett, who was teaching at the University of Iowa when I was growing up. She had a bunch of students who were undergrads or grad students that were in town, and those were the people that were accessible to take lessons from, when I was starting to play bass in junior high and high school. So that was lucky for me that it was just, like, normalized. I think that’s an important thing about representation on stage, making sure kids out there see versions of themselves doing all the jobs.
SM: Yeah, I don’t remember noticing any men playing the bass, but I remember the first woman that I saw playing the bass and thought I wanna do that. I think I can do that.
Let’s end with an easy question: What have you been listening to lately?
SM: I’ve been listening to some of the other new releases coming out. I’m With Her. And Leftover Salmon put out a record.
BK: MK.Gee and what else? I’ve been listening to some music from Morocco. It’s this Sufi Islamic healing music with this instrument that’s very similar to bass, called the gimbri. I did a semester abroad there in college and then was just back there recently for the first time since college. I’ve been getting into that music. It’s so cool.
Do you feel like that gets into what you’re writing?
BK: I think it definitely gets into the way that I play bass, because it’s an instrument that’s like the register of bass. It’s the only pitched instrument in the ensemble, so it’s extremely bass-forward music. It’s just this instrument and then percussion and singing, so the bass has this really central role. It’s very melodic and kind of percussive. Also, the front of the instrument is leather, so it’s kind of like a drum head. Sometimes you play a note with your finger but also use your other fingers to hit the drum. So you’re kind of playing bass and drum at the same time. That’s something I think very much influenced the way I play bass. Shelby, I’ll send you some.
SM: Yeah, send me some of that. That sounds awesome.
Photo Credit: Bridget Kearney by Rodneri; Shelby Means by Hunter McRae
Growing up with access to all of recorded music, it’s hard to imagine not enjoying a wide range of styles. When we all met around fifteen years ago, it was fun to see where our backgrounds overlapped and where they didn’t. Eventually, after lots of road testing, we ended up with some kind of sound to our band that is pretty unique. Our new album, No Bad Ideas, is an expression of that. It’s all over the place, but somehow not.
For this Mixtape, we set out to include music that’s influenced us as a band, inspired our playing and songwriting, or otherwise shaped us as people. Some of these are tunes that have been with us a long time, some of them we just listened to in the van while we’ve been on tour. It’s all over the place, but there’s a through line as well. No Bad Ideas in a playlist! – The Faux Paws
“TSA” – Danny Barnes
Just banjo, drums, and voice. It’s weird, sparse, beautiful, and one of those songs I’ve been coming back to for years. – Andrew VanNorstrand
“Rockingham” – The Faux Paws
This song is all about the excitement and uncertainty of moving to a new place and finding community, even if you aren’t necessarily ready for it. – AV
“Backstep Cindy” – The Freight Hoppers
July 1998. I am ten years old. I wander into the dance tent at the Grey Fox Bluegrass Festival and my tiny little mind is blown into a thousand pieces as I experience the absolutely insane energy of The Freight Hoppers. I’ve been chasing that feeling ever since. This. Tune. F-ing. Rocks. – AV
“Odds of Getting Even” – Maya de Vitry
I can’t get enough of this album. Maya sounds great. Her band sounds great. The material is great. This song has a subtle message of patience and perspective that really speaks to me. Play it again. – AV
“He’s Gone” – Caleb Klauder & Reeb Willms
Caleb and Reeb played for my wedding! They are true cornerstones of the amazing Pacific Northwest Americana scene and are launching a new festival this week, Orcasfest. Caleb wrote this song about his childhood dentist, who was also his best friend’s dad/second dad. – Chris Miller
“Jesus Was a Cross Maker” – Judee Sill
I am always telling people about this singular artist and I feel like her music is still pretty underground in my circles! She had a wild childhood and was caught up in the Laurel Canyon California music scene, experimenting with psychedelics and reflecting on her Christianity. The result is music that doesn’t sound like anything else I’ve ever heard. – CM
“For Me It’s You” – Jobi Riccio
I heard Jobi play this song in a hotel room in Kansas City during Folk Alliance and it broke me. Like, truly deeply broke me the way only a great song can. Everyone has a dream they know probably won’t come true. I needed this song. Maybe you do, too. – AV
“15 Below” – The Faux Paws
Every time we play this, Noah makes my jaw drop – and we captured some of that on the record. This tune came to life when we were quarantined in Newport, Rhode Island, January 2022. We went to try and find a bird on the beach and it was insanely cold. – CM
“Artificial Intelligence” – Jim Lauderdale
Most of the time we spend in the van is actually listening to terrifying podcasts about the seemingly inevitable AI future. I grew up seeing Jim Lauderdale play and I appreciate how he can remain frozen in a time of “real country” while still plundering the depths of current philosophical issues. – CM
“the 1” – Taylor Swift
Noah really, really, really likes Taylor Swift. And he picked this song. And that’s all. Hope you like it. Noah really likes it. A lot. Contact Noah directly for more details on how much he likes Taylor Swift. – AV
“Straight Back” – Taylor Ashton
I love the way this song slips and slides. Smooth groove, clever lyrics, ooo-eee-ooo-eeyoo hook in the chorus. It’s impossible to pin down. And why would you want to pin it down anyway? Just let it do its thing. Don’t worry about it. – AV
“You Are Also Them” – Jenny Ritter
I came across Jenny Ritter randomly around fifteen years ago and have been obsessed with her music ever since. We actually recorded our Backburner EP with the same engineer (Adam Iredale) on tiny Mayne Island, British Columbia. This track coincidentally has Zoe Guigueno on bass! – CM
“Unknowing” – Busman’s Holiday
I don’t have a long history with this song, but we were recently on tour in Nashville and Zoe played it for us. I just can’t shake it. You ever get the sense that a song is perceiving you just as much or more so than you are able to perceive it? I hope this song likes me. – AV
The first music I learned to play was a mix of classic country, western swing, and contest-style fiddling from Ontario. I fell in love with twin fiddle harmonies and a tight rhythm section. Listening to these two fiddle legends riffing off of each other is such a joy. – AV
“I Just Wanna Listen to the Band Play” – Freddy & Francine
These guys (Bianca and Lee) are some of my idols, both in the way they make music and live with intention. As it seems we can’t beat the robots in the great war coming, I think the only hope for music and art is if we decide to be a little more intentional about … everything. This song is from 2020, but more relevant than ever! – CM
Whether or not you know it, you’ve likely heard John Mailander music. Chances are he’s even worked with one (or some) of your favorite artists, from Bruce Hornsby to Billy Strings, Noah Kahan, Joy Williams, Lucy Dacus, Molly Tuttle, and many more.
No disrespect to his work with the Noisemakers (who he’s toured with since 2018), or Strings’ GRAMMY-winning album Home, or any other projects, but it’s Mailander’s original works where his musical wizardry glows brightest. On his latest effort, Let the World In, his abilities are stronger than ever as he combines the influences from everyone he’s worked with into an adventure of orchestral bliss guided by trance-like, open-ended jazzy jams.
Helping Mailander to paint these soundscapes across nine tracks and 35 total minutes of run-time are his longtime band members in Forecast – Ethan Jodziewicz, Chris Lippincott, Mark Raudabaugh, Jake Stargel, David Williford – who he first started playing with during a Nashville residency at Dee’s Country Cocktail Lounge in 2019 to celebrate the release of his debut album of the same name. Through eight instrumental tracks (and a cover of Nick Drake’s “Road”) they send listeners on an introspective journey throughout Let the World In that brings the jazz leaning work of Hornsby and jam-fueled tendencies of Phish together, showing just how far he and Forecast have grown and evolved since first coming together.
“The first record was a blueprint, the second was settling into and discovering who we are, and this record is the most confident statement of who we are,” Mailander tells BGS. “Harmonies, colors, melodic themes, it can all be tied back to the first record in some way.”
Mailander spoke to us ahead of the album’s release about how all of his prior collaborative experiences set the stage for Let the World In to shine, writing on the piano, reality checks from recording, song sequencing, and more.
From your work with Billy Strings and Bruce Hornsby to your own music, you’ve always had a very collaborative way about you and this new record is no exception. What are your thoughts on the significance that played in the process of bringing this album to life?
John Mailander: Collaboration and improvisation are some of the most beautiful parts of being a musician. I love working with the widest variety of artists that I can. It’s a great way to become closer on a human level with the people you’re working with.
Initially, when I was starting this Forecast project, I envisioned it as more of a collective of musicians where we could all bring our own original tunes to the table and improvise freely. However, over time it’s formed into a more regular lineup with the six of us, allowing for the group to grow together as a unit.
Is the album title, Let the World In, meant to be a nod to that collaborative nature and outside influences that loom so large on the project?
Absolutely. The title has a lot of different angles to it. I hesitate to say everything it means to me because I don’t want to put it into too much of a box – I want to leave room for the listener to imagine what it means for them as well. It’s a follow-up to the last record [Look Closer] that we made in isolation during the pandemic.
While that record was very introspective, this new one is much more expansive, because of the world opening up more now and having this constant flood of information coming at us from all directions. It’s an overwhelming time to be alive, so this album feels like a companion piece to the last one, almost like the other side of the coin.
The title track also features the “Let the World In Sound Freedom Expressionists” – Hannah Delynn, Maya de Vitry, Gibb Droll, Ella Korth, Lindsay Lou, and Royal Masat. What was your intention with recruiting them for that one track, and what do you feel they brought to it that it may not have had otherwise?
They are a collection of very dear friends in Nashville who have been there for me in my personal life through a lot. It felt really important to me to credit these friends on the record in some way. That manifested into this collection of sound bites from each of them including poetry, sound effects, singing, and field recordings, which I put together into the sound collage you hear in the track. I love knowing that all of their voices are in there. I hope with each listen you can tune into different elements of it and hear new things.
In terms of outside influences on the record, I know Bruce Hornsby played a big role. What tricks and lessons from him did you implement into these songs?
Bruce is one of my greatest teachers. He’s been really encouraging over the past few years to pursue this project, grow into a band leader, and becoming more confident on the piano. I’m very rudimentary, but I’ve become obsessed with learning the piano recently, in large part thanks to Bruce and watching him play it so much. Everything on this record – except for the cover, “Road,” and the improvisational tracks – were ones I wrote on the piano, which was a huge change in direction for me.
I’ve also tried to incorporate elements of how he leads a band, like having dueling conversational solos rather than individual ones or weaving in and out of and finishing each other’s lines, into what we do with the Forecast as well.
Process-wise, how did the construction of these songs on the piano differ from when you’re composing on fiddle?
Going back to the title of this record, the piano gave it a wider scope compositionally for me, because I was thinking a lot more about bass lines and counter melodies and other things that as a fiddle player aren’t as prevalent. With the fiddle I think much more melodically – it’s kind of the top voice – which makes it harder for me to compose that way because even though it’s my primary instrument it’s hard to get a full picture with it. On the piano it felt more like writing for an entire ensemble rather than just writing a melody in chords.
You ended up knocking out the recording for this album during four consecutive days last year. What was it like doing it all rapid-fire like that compared to the more conventional, slow and steady approach?
It was intense, and we even recorded more than just what made it on the record. A lot of the work in post [production], for me, has been crafting everything we recorded into something that tells a story, which would’ve been tough to do across multiple sessions with the band over time, given that they’re all touring musicians as well. It felt good getting together with everyone from basically 10 to 6 every day and working our butts off as much as we could. It was the most concentrated and focused time we’ve ever had together as a band, as well as a reality check about things in the band we needed to work on.
It’s like putting a microscope on everything because we’ve been playing live at Dee’s every month for a few years, but now we’re in this hyper-focused environment where we can hear and analyze every minor detail. It opened up a lot of rabbit holes that I ended up going down later, but I think we really grew as a band through the process of making it this way.
You mentioned the time being a reality check for what you needed to work on as a band. What were some of those things?
It was like putting a microscope on how the particular instrumentation and individual voices on our instruments really blend and work together, revealing sonic and dynamic things that worked or not. It revealed some habits we’d gotten into through playing live that we discovered didn’t always translate to a record. The sessions were an awesome and intensive way to grow as a unit.
You’ve produced all of the Forecast records thus far. Is that something you plan to continue doing in the future?
Actually, the next record we do I’d like to have another producer. I love producing, but I’m realizing that for my own music I’d like to get another perspective in the room next time we do it. It’s really tough taking on both of those roles, but I’m really proud of what we did and grateful for producing it again this time around.
One of my favorite elements of the record is how well the songs flow from one into another – if listened through in order it presents almost as one long, 35-minute track. Tell me about sequencing this record and the importance for listeners to digest the full project from start to finish?
I’ve always been a nerd about sequencing records. I think it’s a really important part of the experience of listening to music. With this one I put a lot more attention into connecting the tracks. Some of them blend into one another, which is something that my mastering engineer Wayne Pooley – who I know through the Bruce Hornsby world – and I spent countless time laboring over the microseconds between every track to make sure each one hits you in a very intentional way.
Only one track on the album has lyrics – your cover of Nick Drake’s “Road.” Why’d you choose it, and what do you feel it contributes to the overall narrative you’re striving to present on the record?
[Nick’s] been a huge inspiration for years. Even as more of an instrumentalist I’ve always been drawn to his writing. But in terms of that song, I’ve known it for a while and love the entire record it’s on, Pink Man. About a year and a half ago – just before work on Let the World In began – I brought the song to the band. Nick Drake’s version is around two minutes long, but I thought it would be cool to use the song as a tool with our band to improvise and jam like we do at our live shows. We did just that by stretching it out to over nine minutes long. Lyrically it fits with the themes on the rest of the record, but it’s not heavy-handed either. It’s still open to interpretation, which is what I really value in it.
Initially I thought about having a guest vocalist on it, because on our last record we had a couple guest singers. But as we got closer and closer to the studio sessions I realized that it was important for me to sing this one myself, and I’m really proud with how it turned out.
If you could collaborate or have a jam session with any musician past or present, who would it be?
My hero, Trey Anastasio. It would be a dream to play or collaborate with him someday.
What has music, specifically when it comes to the creation process for Let the World In, taught you about yourself?
It’s allowed me to connect with my bandmates on a deeper level than I know how to do any other way. Through that I’m able to tap into those energies that exist between us as people, which is a type of connection I practice and strive to achieve every day.
Wherever you are on this wintry week, we hope our collection of roots music premieres warms you all the way up. We expect it will!
In this edition of our premiere roundup, don’t miss a brand new track from stupendous string trio, The Devil Makes Three, who debuted “Ghosts Are Weak” from their upcoming album on Wednesday on BGS. Plus, there’s straight-ahead bluegrass to be found, too, from Tyler Grant, who pays homage to a towering train bridge on “Goat Canyon Trestle.”
Singer-songwriter Bre Kennedy has reimagined “Before I Have a Daughter,” a song co-written with Lori McKenna about breaking generational cycles, healing, and motherhood. (A theme shared with another premiere this week.) And, Tobacco & Rose repurpose a love song infused with a Buddhist twist with their new track, “Tara.”
In the mood for some music videos? Catch Leslie Jordan’s new video for a Sarah McCracken co-write, “The Fight,” that also grapples with parenthood, discipline, and family. And, the sensational Max McNown brings us the video for the title track for his brand new album, Night Diving, which releases today.
Just in time to shepherd out the once-in-a-lifetime blizzards across the Deep South, Miss Tess showcases her music video for “Louisiana,” a centerpiece of her upcoming album, Cher Rêve. Then Sarah Quintana, who calls New Orleans home, brings us down the road to the Big Easy with an artful music video made with Kat Sotelo for the title track of her soon-to-be-released project, BABY DON’T.
It’s all right here on BGS and, you know the drill – You Gotta Hear This!
The Devil Makes Three, “Ghosts Are Weak”
Artist:The Devil Makes Three Hometown: Santa Cruz, California Song: “Ghosts Are Weak” Album:Spirits Release Date: January 22, 2025 (single); February 28, 2025 (album) Label: New West Records
In Their Words: “‘Ghosts Are Weak’ is about breaking free from destructive habits and patterns. It reflects on how leaving behind a substance or lifestyle often comes with losing certain friends along the way…” – Pete Bernhard
Artist:Tyler Grant Hometown: Boulder, Colorado Song: “Goat Canyon Trestle” Album:Flatpicker Release Date: January 24, 2025 (single); March 28, 2025 (album) Label: Grant Central Records
In Their Words: “The largest wooden trestle ever built still stands in the Mojave Desert of eastern San Diego County. I wrote this uptempo bluegrass song to tell the story of the trestle and the ‘Impossible Railroad,’ which was conceived by sugar and shipping magnate John D. Spreckels in 1906 and completed in 1919. History songs are tricky and I am very proud of this one. It will tickle the ears of any enthusiast of the classic railroad songs. I furnish some Doc Watson-style flatpicking and Michael Daves delivers on the hot tenor vocal part. The moral of the story is, if you take on the desert, it will always win.” – Tyler Grant
Track Credits: Tyler Grant – Guitar, lead vocal Andy Thorn – Banjo Adrian “Ace” Engfer – Bass Dylan McCarthy – Mandolin Andy Reiner – Violin Michael Daves – Harmony vocal
Leslie Jordan, “The Fight”
Artist:Leslie Jordan Hometown: Johnson City, Tennessee Song: “The Fight” Album:The Agonist Release Date: April 25, 2025
In Their Words: “‘The Fight’ was written with Sandra McCracken on her back porch in September of 2023. When I read the piece that my grandfather wrote with the same title, I knew I had to save it for my co-write with Sandra. I have long admired Sandra’s ability to tell a story in her songs with honesty and raw vulnerability. I knew she could help me capture the true intention of this piece. It is heartbreaking. Gut-wrenching. A mother’s internal dialogue after she loses control and hits her son. We sat for a while and chatted through what we thought was really happening in the story, how it made us feel, and then I started playing the chord progression you hear. The story my grandfather wrote begins with these two lines:
‘The rebellion was over, and she had sent him to wash-up. There comes a time when children must be made to realize limitations and authority.’
“Sandra immediately started scribbling in her notebook and turned it around to show me.
‘The rebellion was over She sent him to wash his hands She tried to reason with him But he could not understand There comes a time when you find the limit’
“I started singing the words along to the chords and it felt like we had caught lightning in a bottle. I was also very excited to have my friend Brittney Spencer lend her incredible vocals on this song! When she heard it, she immediately had an idea that would lift the chorus. She really brought the song to another level.” – Leslie Jordan
Track Credits: Leslie Jordan – Acoustic guitar, vocals Brittney Spencer – BGVs Kenneth Pattengale – Guitar Harrison Whitford – Resonator guitar Daniel Rhine – Upright bass Joachim Cooder – Drums, percussion Evan Vidar – Pump organ
Video Credit: By Jake Dahm. Edited by Leslie Jordan.
Bre Kennedy, “Before I Have A Daughter” (featuring Lori McKenna)
Artist:Bre Kennedy Hometown: Nashville, Tennessee Song: “Before I Have a Daughter” featuring Lori McKenna Release Date: January 24, 2025 Label: Nettwerk Music Group
In Their Words: “I am so excited to share this version of my song ‘Before I Have a Daughter’ with the one and only Lori McKenna. I wrote this song with Lori a few years back after small talk that led to a conversation about me not knowing my mother, who struggled with addiction as I grew up, and wanting to get to know her and heal with her before I have a daughter. Writing this song was the beginning of a healing journey with not only my mother, but with myself. [It’s] how I have learned to have grace and appreciation for my journey, as well as hers. This song continues to grow with me in real time and I am so honored I get to share this version with Lori with you all from where I am on my journey now.” – Bre Kennedy
Max McNown, “Night Diving”
Artist:Max McNown Hometown: Bend, Oregon Song: “Night Diving” Album:Night Diving Release Date: January 24, 2025 Label: Fugitive Recordings x The Orchard
In Their Words: “We stepped into the writing room and Erin [McCarley] asked, ‘What’s something in your life that you keep fighting and can’t seem to overcome?’ ‘Night Diving’ became the answer to that question – it’s a song that addresses addiction and I think it’ll resonate with people on a lot of different levels. The ‘Night Diving’ song and video contain the deepest waters of symbolism I’ve created to date.” – Max McNown
Track Credits: Jedd Hughes – Electric guitar Todd Lombardo – Acoustic guitar, mandolin, additional electric guitar Jamie Kenney – Bass, acoustic guitars, additional electric guitars, drum programming Aaron Sterling –Drums Max McNown – Lead vocals, background vocals
Miss Tess, “Louisiana”
Artist:Miss Tess Hometown: Nashville, Tennessee Song: “Louisiana” Album:Cher Rêve Release Date: January 24, 2025 (single); February 7, 2025 (album)
In Their Words: “‘Louisiana’ was the first song inspiration for my new album Cher Rêve, coming out February 7. It was deep in the pandemic and I had reached a point where I was really missing traveling, friends, live music, and dancing. I became fixated on my memories of basking in the Cajun culture of South Louisiana (Lafayette & Eunice, mainly during the Blackpot Festival and music camp), and started to write a song about it.
“My excellent co-writer friend and fellow Blackpot visitor, Maya de Vitry, helped me work on it for about six hours one day while she was house-sitting. Since it was a challenging time to hang out with people in person, we finished it over the next month via email. It is one of my favorite songs on the album and really sums up my feelings and nostalgia for being down there, playing and enjoying music beneath the tall Louisiana pines. I am thankful this recording includes the talents of so many amazing Lafayette-area musicians, including Joel Savoy (fiddle + studio engineer), Trey Boudreaux (bass), and our dear friend Chris Stafford (Wurlitzer), who passed away tragically this past May.” – Miss Tess
Track Credits: Thomas Bryan Eaton – Electric guitar, vocals Joel Savoy – Fiddle Miss Tess – Vocals, guitar Kelli Jones – Vocals Chris Stafford – Wurlitzer Trey Boudreaux – Bass Matt Meyer – Drums
Sarah Quintana, “baby, don’t”
Artist:Sarah Quintana Hometown: New Orleans, Louisiana Song: “baby, don’t” Album:BABY DON’T Release Date: January 24, 2025 (single); March 28, 2025 (album)
In Their Words: “Kat Sotelo is the amazing performance artist and videographer behind this video. She designed and executed the concept, built the set, and asked the band to wear blue jeans. We wanted the first single to feel like something off The Ed Sullivan Show in the ’60s with a live performance lip-sync and vintage transitions. Silly moments of stop-motion animation flaunt Adrienne Battistella’s stunning band photos.
“I love Kat Sotelo’s work. She is a longtime friend and collaborator and my muse. She is a lovely human, creative powerhouse and inspiration to us all! She and I have been working together since my first project, Mama Mississippi, in 2012. Thanks for this adorable video, Kat!” – Sarah Quintana
Track Credits: Cello: Chris Beroes-Haigis – Cello Drums: Rose Cangelosi – Drums Saxophone: Rex Gregory – Saxophone Sousaphone: Jason Jurzak – Sousaphone Recorded by Justin Tockett at Dockside Studios
Video Credit: Video and set design by Kat Sotelo, photography by Adrienne Battistella.
Tobacco & Rose, “Tara”
Artist:Tobacco & Rose Hometown: Victoria, British Columbia, Canada Song: “Tara” Release Date: January 31, 2025 (single)
In Their Words: “‘Tara’ is a repurposed love song. The initial melody and lyrics were inspired by a crush that subsided as quickly as it appeared, but I was inspired to revive the song after following along to some guided Tara meditations. The Buddhist deity, Tara, is known for her compassion, but also for her encouragement to action. So I dedicate it to her, and, in fact, the writing of this song spurred into action the completion of my record, as it was the last song I wrote for it, and a standout track at that. I love this song, in part for the unusual wide guitar voicings that I got from my viola studies as a teenager, and for the melody that soars into head voice at the end of the chorus. And lyrically, I treat this song as a Buddhist-themed reminder for myself to stay awake and aware, and to treat all challenges, afflictions, and aversions as opportunities to get better at human being.” – Richard Moody
Track Credits: Richard Moody – Guitar, vocals, strings, keyboards Joey Smith – Bass
Photo Credit: Max McNown by Nate Griffin; Miss Tess by Jo Vidrine.
Maya, Nina, and Lyle de Vitry’s life, beginning in Lancaster, Pennsylvania, has been music and family, festivals, old-time, songwriting, and folk. The de Vitry siblings (including sister Monica, currently teaching art in Western Mass) grew up amongst music and nature in their rural home and even had a family band called Old-Time Liberation Front. Many jams around the campfire, music lessons, and encouragement from their parents lead all three siblings to careers surrounding indie folk music – and jazz! (Thank you, Nina.)
All three have released albums in the past year: Maya’s new album The Only Moment is her fourth record in only six years of performing solo in her post-Stray Birds career. Lyle just released his debut album, Door Within a Dream, while simultaneously working alongside other banjo makers at the Pisgah Banjo Company, his current day job. Nina’s excellent debut, What You Feel is Real, came out last year, but she’s been busy lately playing on the Noah Kahan tour as “the utility player.” Nina’s singing harmonies and playing fiddle, mandolin, banjo, guitar, and 12-string guitar while finding creative inspiration from the energy of the crowds and her new found musician siblings in Kahan’s band.
In our special Basic Folk conversation with the de Vitry sibs, we talk about how they feel about each other’s creative processes, songwriter practices, and musical inspirations. They get into how being at all these music festivals and jams as kids bonded them together and we learn about made-up words that their family uses to this day – stay tuned to find out what a “butchabee” and a “taffy bub” is.
Elsewhere in the episode, they each talk about how disconnected they feel from the mainstream – Nina had never heard of Noah Kahan’s music until she was asked to audition for his band. Also, Lyle gets into how being around three sisters, female musicians, and female songwriters has impacted him and his musicality.
Don’t miss a very special de Vitry “Which One” lightning round wrapping up one of the most special singer-songwriter interviews we’ve done on Basic Folk.
To welcome you to the end of the week, we’ve got a slate of superlative premieres from across the roots music landscape.
Below, find new tracks from singer-songwriters – Maya de Vitry, who sings a song from her upcoming co-written with Caitlin Canty, as well as Lucy Isabel bringing “A Hero’s Welcome.” We’ve also got a few Western North Carolinians in our round-up, including bluegrass mandolinist Darren Nicholson playing a song about a true mountain man, John Colter, and Amanda Anne Platt & the Honeycutters offering “Big Year.”
Plus, guitarist Jacob Johnson is joined by Willie Nelson & Family harmonica player Mickey Raphael on an acoustic Allman Brothers cover and Tommy Emmanuel pays tribute to Chet Atkins’ 100th birthday with a video BGS premiered earlier this week.
It’s all right here on BGS – and You Gotta Hear This!
Maya de Vitry, “Odds of Getting Even”
Artist:Maya de Vitry Hometown: Lancaster, Pennsylvania Song: “Odds of Getting Even” Album:The Only Moment Release Date: July 12th, 2024 Label: Mad Maker Studio
In Their Words: “I wrote ‘Odds of Getting Even’ with my dear friend Caitlin Canty at a kitchen table in Nashville, several years ago. I was borrowing a friend’s snare drum at the time and having so much fun just grooving on that drum and singing. We were really moved by an article laying on my table, it was about the late Sharon Jones. Her story is powerful – her devotion to music in spite of so many years of rejection and really outright dismissal by the music industry – and then her battle with cancer, and performing in the midst of treatment… Against so many odds, she persisted in making her music. And singing was the only thing that could take her pain away.
“The band Della Mae made the first recording of this song on their 2020 Headlight album. It’s a real honor and thrill to hear another band bring your song to life. Then, Caitlin recorded her own version on Quiet Flame, which came out last summer. One of the things I love most about making records is making a collection of songs that feel like they magnetically want to live alongside each other, like companion plants or something – and this one just absolutely belongs in the song garden of The Only Moment. And to hear Phoebe Hunt on harmony vocals… well I just think Phoebe is an absolute legend. I’m so lucky to get to sing with her.” – Maya de Vitry
Track Credits: Maya de Vitry – Vocals, acoustic guitar, synth Phoebe Hunt – Harmony vocals Anthony da Costa – Electric guitar Ethan Jodziewicz – Bowed upright bass Dominic Billett – Drums
Lucy Isabel, “A Hero’s Welcome”
Artist:Lucy Isabel Hometown: Nashville, Tennessee Song: “A Hero’s Welcome” Album:All The Light Release Date: June 28, 2024 (single); October 11, 2024 (album)
In Their Words: “‘A Hero’s Welcome’ is the only song on the album that wasn’t written specifically for the album. I taught myself to play guitar in college and started writing music pretty much right away. ‘A Hero’s Welcome’ was the first song that I ever felt proud of writing; I felt like I had found my voice. While I was in the process of writing the bulk of this album, I hung out with a college friend who reminded me of ‘A Hero’s Welcome.’ I suddenly realized that it was a perfect fit for All The Light and I added it to the track list. It’s been really fun to revisit this song that I wrote as a 21-year-old and hear how it’s transformed through the production process.” – Lucy Isabel
Track Credits: Written by Lucy Isabel Fortune-Cabrera. Produced/mixed by Jared Anderson. Mastered by Preston Cochran. Lucy Isabel – Vocals, BGVs Jared Anderson – Guitar, bass, pianos, percussion Andy Ellison – Pedal Steel
Jacob Johnson, “Jessica” featuring Mickey Raphael
Artist:Jacob Johnson Hometown: Greenville, SC Song: “Jessica” feat. Mickey Raphael Release Date: June 21, 2024
In Their Words: “It’s an unwritten rule for musicians that if your darlin’ (that’s how we say “significant other” or “partner” in the South) is named after a famous song, you must learn the song and you must use it to serenade them. Unfortunately, my wife was named after a 7-minute Allman Brothers jam. Eventually, I got serious and put together a solo/acoustic version of ‘Jessica’ that I later played as she danced with her dad at our wedding reception on May 31, 2019. It’s been knocking around in my head since then and earlier this year I decided it was time to flesh out the arrangement with some collaborators.
“Jack Ryan and Stephen Campbell from the dangerously hot Marcus King Band laid down a groovy, breathing foundation on drums and bass respectively, and Aaron Bowen supplied tasty keyboard lines throughout. In addition to the main melody, I played the second solo on my trusty Takamine acoustic guitar, but I knew I wanted to feature another special guest for the first solo section. I was completely blown away when my first choice, Mickey Raphael, legendary harmonica player for Willie Nelson and Family, agreed to participate. Mickey has played on some of my favorite albums of all time, and his lyrical, melodic style was just what the track was asking for. Having part of his magic on one of my tracks has been on my musical bucket list for many years.
“Of course, this entire project was created with lots of love and respect for its composer, the great Dickey Betts, who we lost not long after production was completed. If you know Southern music, you know he was one of the greats. Though I never had the opportunity to meet the man, I hope that my arrangement and attention to the details of this composition can honor his legacy in some small way.” – Jacob Johnson
Track Credits: Jacob Johnson – Guitars Mickey Raphael – Harmonica Jack Ryan – Drums Stephen Campbell – Bass Aaron Bowen – Keyboards Produced by Jacob Johnson. Recorded by Shane Nelson at Asaph Studios & Mike McCarthy in Jack Ryan’s Garage. Mixed by Shane Nelson at Asaph Studios, Greenville, South Carolina. Mastered by Anna Frick at Ally Sound.
Darren Nicholson, “Big Sky”
Artist:Darren Nicholson Hometown: Canton, North Carolina Song: “Big Sky” Release Date: June 21, 2024 Label: Mountain Home Music Company
In Their Words: “This is one of my favorite cuts of my entire recording career. I feel there’s a special spirit in the song and the way it turned out. It’s based on the true story of early American explorer, John Colter. He was a member of the Lewis and Clark Expedition and became the first known person of European descent to enter the region which became Yellowstone National Park. There’s several fascinating periods of his life and career. I became aware of him through a fabulous book about his survival and harrowing adventures called Colter’s Run. He was one of the first true mountain men. This was the inspiration for the song when Charles Humphrey and myself set out to write it. I also think it would make a great film. I feel the musicians knocked it out of the park in regard to capturing the mood and old-time essence. Hope you enjoy!” – Darren Nicholson
Track Credits: Darren Nicholson – Mandolin, octave mandolin, lead vocal, harmony vocal Tony Creasman – Drums Kristin Scott Benson – Banjo Zach Smith – Upright bass; Colby Laney – Acoustic guitar Deanie Richardson – Fiddle David Johnson – Dobro Kevin Sluder – Harmony vocal Jennifer Nicholson – Harmony vocal
Amanda Anne Platt & the Honeycutters, “Big Year”
Artist: Amanda Anne Platt & The Honeycutters Hometown: Asheville, North Carolina Song: “Big Year” Album:The Ones That Stay Release Date: August 9, 2024 Label: Mule Kick Records
In Their Words:“I wrote the first line of this song in 2018, after what felt like a really big year. I would revisit it from time to time, trying to find the rest of the words. And while I was doing that, the years just kept getting bigger and bigger. Good stuff, bad stuff, life just gets overwhelming at times. And of course there was a global pandemic. I’m still waiting on a smaller year, but maybe I’m also learning how to ride the wave a little better.” – Amanda Anne Platt
Track Credits: Amanda Anne Platt – Acoustic guitar, lead vocal Matt Smith – Dobro Rick Cooper – Electric guitar, vocal harmony Kevin Williams – Piano, vocal harmony Evan Martin – Bass, drums, percussion, vocal harmony
Produced by Scott McMicken and Greg Cartwright, FrogHouse Productions, and Amanda Anne Platt.
In Their Words: “The one and only Chet Atkins would be celebrating his 100th year if he were still here in body. We miss him. We love his playing, we remember all the great lessons and wisdom he handed out freely to us. We always use his example as the one written in stone. My fellow CGPs, John Knowles and Steve Wariner, have their own experiences and memories to share, and they have lived a different life to me. Yet, because of our love for Chet’s music, we are forever joined, like family…” – Tommy Emmanuel
(Editor’s note: Each issue of Good Country, our co-founder Ed Helms will share a handful of good country artists, albums, and songs direct from his own earphones in Ed’s Picks.
Photo Credits: Cam by Dennis Leupold; Maya de Vitry by Kaitlyn Raitz; Courtney Hartman by Jo Babb; Kyshona by Anna Haas; The Local Honeys by Erica Chambers; Caroline Spence by Kaitlyn Raitz.
Songwriter Maya de Vitry and bassist Ethan Jodziewicz come to their partnership with an understanding for their chosen lifestyle and a creative playfulness that enhances their connection. While Maya’s roots are firmly planted in folk music, Ethan brings classical music and improvisation to the table. They’ve been collaborating together since Maya’s post-Stray Birds solo career, which launched in early 2019 with her record, Adaptations. Fast forward to 2023, they are back alongside Joel Timmons and Hannah Delynn with the fabulous new EP, Infinite. For the first time in years, Maya is back on the road, while Ethan has been touring basically non-stop with musicians like Aoife O’Donovan, Sierra Hull, and Lindsay Lou. In our conversation, they talk about how it’s helpful to be in a relationship with someone who is also deeply committed to a musician’s lifestyle while understanding when someone needs a break.
Maya also reflects on her current state of being within her body and how she has trouble recognizing physical pain to the point where she can’t move. She talks of the realization that she had the tendency to tense up when picking up a guitar and how that was because she felt like she didn’t belong. Ethan and Maya share their observations on working within a boundary. Ethan laments that he often works within a boundary with improvisation while Maya speaks of placing limitations around touring and performing live shows. We end this insightful interview with Maya revealing celebrity sightings are her Nashville Starbucks and a very fun Lightning Round called “Which One.”
Photo Credit: Maya de Vitry by Kaitlyn Raitz; Ethan Jodziewicz by Lily Smith
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