Tag: Old-time

Amythyst Kiah Enjoys Challenging Assumptions

Posted on by Justin Hiltner

Singer-songwriter Amythyst Kiah enjoys ignoring conventional wisdom and challenging notions she considers at best outdated and at worse reactionary and restrictive, regarding what music she should choose or what subjects she should address as an artist. But at the same time, she has never wanted anyone to label or pigeonhole her approach. Since 2010, Kiah has been steadily touring and recording, both solo and with other artists whose music also cuts across multiple thematic and idiomatic boundaries.

Kiah has a prominent, robust voice and is an outstanding guitarist and banjo player. A Chattanooga native and East Tennessee State University graduate, family and community ties are a major part of her life. Kiah’s father used to be her tour manager and she credits his influence (he also was a percussionist in a touring band during the ’70s) as well as that of her late mother (a vocalist in her hometown church choir) in shaping a performance style that is equal parts edgy and disciplined, adventurous but never chaotic or unruly.

After teaching herself to play guitar while attending a creative arts high school, Kiah would subsequently complete the Bluegrass, Old Time, and Country Music Studies program at ETSU and join the school’s marquee old-time band. Her array of activities since 2010 have included releasing the LP Dig In (cut at the ETSU Recording lab in 2013); the five-song EP Chest of Glass (recorded in Johnson City in 2016); and the critically praised Wary + Strange. Wary + Strange was done in Nashville for Rounder and was finally released in 2021 after going through three different producers over a three-year period before finally settling on Tony Berg. It addressed a lot of things in Kiah’s life that were difficult, notably the loss of her mother to suicide.

Conceptually, Kiah’s growth as a vocalist and songwriter is evident from the opening moments of her brand new album, Still + Bright, to its concluding refrain. Whether it’s the extensive lyrical quest for spiritual and personal growth unveiled with vigor in “Play God and Destroy The World,” or the search for peace of mind discussed in “S P A C E,” Kiah’s powerful vocals and insightful lyrics reveal a portrait of an artist willing to acknowledge uncertainty, yet able to find a sense of belonging and salvation through taking the journey.

Musically, the production incorporates a host of sounds, everything from mandolins and fiddles to crisp, crackling guitar lines – plus memorable guest vocals like S.G. Goodman on “Play God” and Kiah’s consistently poignant, stirring lead vocals. The new album, her third solo project, was already generating lavish praise before its release. It will no doubt continue to garner critical support as well as possible mentions on numerous best-of-the-year lists for Americana, folk, and country releases.

Kiah also has her share of high profile covers and collaborations. The most notable among them include being featured vocalist on Moby’s 2021 single “Natural Blues” and doing a cover of Joy Division’s “Love Will Tear Us Apart” in 2022. But perhaps the most celebrated was appearing along with Rhiannon Giddens, Leyla McCalla, and Allison Russell in the supergroup, Our Native Daughters. Sadly, despite being a pioneering all-Black women’s group, Our Native Daughters’ music hasn’t found its way onto the airwaves at urban contemporary radio. But their LP, Songs of Our Native Daughters, was a critical and commercial hit within the Americana and roots music community. Kiah’s composition on the album, “Black Myself,” earned a 2020 GRAMMY nomination for Best American Roots Song.

All this set the stage for Still + Bright. Kiah performed some of its songs during a visit to Nashville for Americanafest 2024; she will be returning to Music City for a highly anticipated appearance on the Grand Ole Opry on December 10. She spoke at length with BGS about her new LP, the recording process, touring, and her love for science fiction, among other things.

Congratulations on the response to Still + Bright.

Amythyst Kiah: Thanks so much. I really wanted to do some different things on this album, show another side in terms of my personality. It was very important for me to say and express certain emotions on Wary + Strange and say some things that needed to be said. I did some of that with Still + Bright, but I also wanted to do some lighter things, some fun things, present other aspects of my life, and reflect more humor, more joy. I’m very happy with how it turned out and the mix of things that we covered and presented.

How was the experience recording in Nashville and how much did having Butch Walker aboard as a producer affect the recording?

Butch was and is so wonderful. Whenever I’d suggest something to him he’d just say, “OK, let’s try it and see what happens.” He was so open to everything and at the same time he knew when to step in and say, “Why don’t you try it this way?” or “Why not add this element to it?” He was so much more like a good friend and buddy than just a hired gun-type producer. When I came to town for this most recent date and asked him about playing, he not only said sure, he showed up and joined right in. It’s been such a treat working with him, a great personal and professional experience.

You describe your sound as “Southern Gothic.” Have you found that the Americana format works for you in terms of getting the necessary promotion and exposure for your music?

It’s really the ideal format, because it does fit so many different styles and types of music. One of the real problems with radio now, especially commercial radio, is that everything is rigidly categorized. If you aren’t doing a very specific thing production-wise, the content and quality don’t matter. With Americana I’ve been welcome to do and try whatever I think fits and whatever I think I want to do musically. I can’t tell you how much creative freedom that gives you as a performer. You’re not writing to fit what someone else thinks might work. You’re free to have your music unfold and develop organically, the way that you hear it.

One thing that really annoys me is that there’s a sizable audience segment out there that very well might relate to your music if they got to hear it, but for a variety of reasons they won’t. Does the restrictiveness of marketing sometimes bother you?

I want to credit the people at Rounder with doing the best job that they can in terms of getting my music out to different and diverse audiences. All I’ll say about that issue is I’ve found that when people get a chance to hear my music and songs, they’ve been universally positive. That’s all that I can do as a performer is present them to the best of my ability. Certainly I’d love to get all types of listeners; I think Rounder works on that as well.

You’ve chosen to remain in Johnson City. How would you describe the music scene there and are there any thoughts about possibly making a move to Nashville?

There’s a lot more of a music scene here than you might think and a lot of that is due to the presence of the university. But there’s an active singer-songwriter scene here. There’s a jazz and blues scene. Certainly it’s not as large as some other places, but it works well for me. I’ve been able to do a lot of playing in clubs when I’m home and also do some songwriting and collaborations with other artists around town. I’m quite satisfied with being here. That doesn’t mean at some time down the line I might not think about coming to Nashville. I really enjoy recording and playing there. Of course from what I hear about the cost of living, that’s a concern. Right now I have no plans to make that move.

One of your non-musical passions is science fiction. Who are some of your favorites?

Interesting that you bring that up. I’m a fan of H.P. Lovecraft from the standpoint of his creativity in depicting horror and fantasy. Now I’ve certainly also become aware of the problematic areas and that gets into the whole discussion of, can you effectively separate the artist and their work from things in their character that are less than desirable, to put it mildly. Clearly, there are things in the Lovecraft legacy that are totally anathema to me, in terms of my identity and all the things I espouse and believe. Do I find some value and get some joy from his writing from a technical perspective? Yes.

Octavia Butler is someone I’m just now beginning to really do a serious examination of and I’m very intrigued and delighted by what I’m seeing so far, especially in regards to how she sees the future and issues of race, class and gender. The Matrix series remains a favorite of mine as well.

You’re about to get back on the road. Does touring still remain something that’s exciting or has the thrill faded with time?

No, as a performer the interaction with the live audience is what drives you and keeps you going. Now I won’t deny that there’s a grind aspect, when you’ve been on the road for several days in a row or for months. But the chance to see new places and play your music for fresh faces and new audiences is an invigorating challenge. It’s really what you get into songwriting and singing to do, much more so than the dollars and cents of it. While no one would deny that you’ve also got to take care of business, it’s the exhilaration of performing that’s the ultimate reason for writing songs and making music. You get a reaction from audiences that you can’t get in the studio.

Photo Credit: Photography by Kevin & King

8 Songs for This Exact Moment

Posted on by Justin Hiltner

Where do we go from here?

When you wake up in a world where hatred and fascism have been resoundingly endorsed by so many of your neighbors and fellow citizens, how do you proceed? That question becomes even more daunting at its second or third or umpteenth asking.

Yes, music will play a vital role over the next handful of years, as we continue the fight for justice, self-determination, and agency for all people, in the U.S. and around the world. But music, the arts, and creativity won’t be enough to save us. They won’t be an end-all, be-all solution to the political and cultural hurdles we will have to clear in the near future.

This is a moment that calls for so much more. Solidarity, first and foremost – the idea that, at the beginning or end of the day, all we have is each other – and community, organizing, and advocating for each other will be essential. Mutual aid will be more necessary than ever. Putting our own privilege on the line in order to protect and ensure safety for those more marginalized than ourselves is the task immediately at hand. Showing up – yes, for our country, but more importantly, for our friends and neighbors – is the very next step. Literally and figuratively.

Still, the soundtrack we will all write, that we will all curate, that we will all partake in while opposing the craven and hateful policies being proffered by our would-be dictator will be a powerful tool. Music – especially roots music, country and bluegrass, blues and old-time, folk with a lowercase and capital F, and more – are traditions steeped in populism, in worker’s rights, in justice, in standing up for the downtrodden and beleaguered. There are no better genres for this exact moment. There are no betters artists, musicians, and songs than those in and made by our very community.

BGS and Good Country include in our mission a commitment to intentionally crafting a roots music space, a bluegrass- and country-centered universe, where everyone is welcome, regardless of identity, background, nationality, ethnicity, disability, class, or belief system. We are determined to continue that work, to be a place where – hopefully – anyone and everyone can feel seen, heard, safe, and valid in their love for and appreciation of all things roots music.

As we summon courage for the work ahead and lean on our community, here are eight songs perfect for this exact moment in history, to hold up as we remind ourselves our goals are the same at the end of this week as they were at the beginning: liberty, agency, and self-determination for all. – The BGS & Good Country Team

“Mercy Now” – Mary Gauthier

A modern Americana classic, singer-songwriter Mary Gauthier shared “Mercy Now” on social media very early on Wednesday morning, after the news broke that Trump had won another term. It spread quickly on social media with many a repost and reshare. The message here, of mercy applied broadly, universally, and without qualification, is more than timely. It’s evergreen.

“Crisis” – Aoife O’Donovan

Connecting our current struggle to those of past generations is exactly how we continue to put one foot in front of the other, despite setbacks and losses and despair. Aoife O’Donovan’s latest record, All My Friends, is a perfect intergenerational connecting of the dots, centering women, girls, and femmes, and shines a light on the non-linear track that leads to victory. We know we will continue to return to this music over and over in the future, as a balm and a catalyst for progress.

And, as our friends at Basic Folk reminded us yesterday, Aoife’s and Dawn Landes’ episode of the podcast – which focuses on their similar albums centering women, feminism, and women’s issues – is an incredibly timely re-listen. Find that episode here.

“Sun to Sun” – Alice Gerrard

Looking to our roots music elders in this moment is exactly what we all need! Alice Gerrard’s most recent album, Sun to Sun, and certainly its title track, indicate a kind of perseverance and long view that we all could take on as we face the uncertain future.

With a loping, almost marching rhythm, there’s a grounded, realistic, and convicting approach here on “Sun to Sun.” While we all talk, and talk, and talk, and talk, the problems we face continue unabated and unchallenged. What will we do besides talk?

While we talk another fool goes and buys a gun…

“Listen” – Kyshona

Speaking of talking… why don’t we take a turn at listening? The challenge has been set by Kyshona, a powerful and restorative singer-songwriter and activist who channels her ancestors, connects generations, and builds community with every note and every word sung. Originally released in 2020, “Listen” is just as encouraging now as it was then, and just as indelible in its striving for a better, more compassionate world. Media, social media, and the internet all incentivize us to speak, to center ourselves, to prefer “me” and “I” over “us” and “we.” Let’s maybe listen more, instead. Especially right now.

“Beautiful” – Sam Gleaves

Appalachian singer-songwriter and multi-instrumentalist Sam Gleaves – who was raised in southwest Virginia but now lives in eastern Kentucky – released one of the most quietly and emphatically radical queer country and old-time albums of this year, Honest. “Beautiful” is the collection’s stunner, a track about how there’s endless beauty, mystique, and life lessons to be drawn from the ways we’re all different from each other. Through the lyrics, you see the world from the eyes of a young Gleaves, singing about sights and sounds unfamiliar and foreign to a boy from the mountains, loved and cherished by his family and shown that love without question.

Seeing beauty in our differences? What a way to live…

“The Numbers” – Mipso

THE ECONOMY! THE ECONOMY! THE ECONOMY!

What about those of us for whom this economy has never worked well or fully functioned? What about the millions who can’t make ends meet right now, under blue or red presidents? From their 2023 album, Book of Fools, Mipso turn over this very question, examining how and why “The Numbers” could be soaring – hiring numbers, the stock market, crypto values, Tesla market cap – while so many are still struggling day to day.

“Put No Walls Around Your Garden” – New Dangerfield

From Black string band supergroup New Dangerfield – which features Jake Blount, Kaia Kater, Tray Wellington, and Nelson Williams – “Put No Walls Around Your Garden” is an Americana-tinged old-time number, written by Kater, with a collectivist stance and a solidarity through line. There may be instincts in the near future to revert to an “every man for himself” sort of survival strategy, but the only way we’ll get through is together. Rather than hoarding, walling ourselves off, retreating, or recoiling, now is the time to throw open our garden gates and welcome each other in. Share our abundance, work through our scarcity and lack, and care for each other’s needs – big or small.

“Trees” – Laurie Lewis

Consider the trees. Consider the birds, the rivers, the oceans, the saguaro, the pikas, the whooping cranes. Did their realities change between Tuesday and Wednesday? Is the world any less or more likely to burn, to flood, to be blown away by hurricanes and tornadoes now than on Monday? Sadly, no. The march towards climate apartheid continues entirely unfettered, regardless of who holds the White House.

Laurie Lewis, a bluegrass forebear who has carried the mantle of climate justice for her entire life, embodies trees in the title track of her latest album. She and her band show how the fight for justice – climate justice, racial justice, gender equality, LGBTQ+ rights, immigrant rights – is a fight not measured by human lifespans and human time, but against earth’s clock. The trees will continue to watch, waiting, for us to either figure it all out or to fail at our mission.

We must not fail. The work continues and we’ll be working – and singing – alongside you all, the entire way.

Photo Credit: Alice Gerrard by Libby Rodenbough.

Artist of the Month: Billy Strings

Posted on by Justin Hiltner

We’ve been covering our friend, GRAMMY Award winner and physics-defying flatpicker Billy Strings for now almost ten years. In that relatively short period of time, he and his band have revolutionized the bluegrass, jamgrass, and acoustic guitar scenes. Way back in 2014 and 2015, when the local Michigan guitarist with generational talent first started appearing on our site and in our Sitch Sessions, and making his mark on the national bluegrass scene, almost no one would have predicted he would be selling out arenas less than a decade later. And yet– there were always signs.

Indeed, BGS’ first viral content was a Sitch Session performance by Strings and former duo partner Don Julin, performing what would eventually become a “hit” for Billy, “Meet Me at the Creek.” The video spread like wildfire on BGS, Facebook, YouTube, Reddit, and beyond – rapidly garnering more than a million views. It was just one of the many early inflection points that would occur over Strings’ stratospheric rise.

Strings’ jaw-dropping picking, gritty and heartfelt vocals, mystifying jams, and virtuosic, tradition-steeped aggression are all at once charming and hypnotizing. Given a platform, of any size or reach in his early career, his performances, songs, and live shows were an unstoppable force. Audience members and fans could hardly look away.

His personal narrative, of hardship and bootstraps and holding onto a childhood dream of playing bluegrass for a living, of road-dogging and paying dues and “god-given” talent, bolstered his trad bona fides when his metal and rock background, long hair, and drug-infused stories might have undercut his appeal to bluegrass and old-time audiences. Strings was – and is – obviously, a real human being; despite what supernatural touches are evident in his music, here is a guitar hero embodied. And, for hundreds of thousands of roots music fans, diehard and uninitiated, that brand has been limitlessly resonant and relatable. Plus… there’s that picking!

It’s no wonder, merely four solo studio albums into his career, Strings has gone from touring 250+ days a year at every mom-and-pop bluegrass festival, rock club, coffee shop, and barbeque restaurant in the U.S. and Canada to selling out enormous arenas, auditoriums, and amphitheaters for multi-night runs all around the world. Billy Strings, as an artist, a brand, and an individual, was always made to go the distance.

His newest album, Highway Prayers, which released September 27 on Reprise Records, finds Billy and band putting even more miles under their well-worn, veteran tires. A long form, 20-track album, the project includes breakneck instrumentals, many a live show and fan favorite, and plenty of that Billy Strings magic that only he and his cohort could bring to such a record. But, despite the fact that Billy has guested on dozens of projects as a track feature in the past few years – from Post Malone to Zach Top to Sierra Ferrell to Willie Nelson to Luke Combs to Ringo Starr – Highway Prayers has not a single credited celebrity feature.

Which brings us to a point that, forest for the trees style, seems to go missing from considerations of Billy Strings, his music, and his impact. Yes, Strings is defining and redefining bluegrass in the modern era and in the 2000s. Yes, Strings is perhaps the most important bluegrass artist of his generation, if not of all time. Yes, Strings has illustrated there truly is no ceiling for bluegrass music, commercially and otherwise. And yes, he and his band are revolutionizing the very landscape on which this music is built, offered, and examined.

Still, as Highway Prayers – as well as his live shows and his entire discography – demonstrates, the most innovative and revolutionary aspects of Billy Strings and his version of bluegrass are not what he’s changed, but what has stayed the same.

Even Alison Krauss & Union Station at their very peak were only performing true bluegrass for a portion of their live shows. The Chicks, for all of their international touring and arena sell-out shows, would often only have four or five string band songs set aside in a special mini-set during their performances. Billy Strings and his band are not only raising the bar for bluegrass and its marketability and sale-ability in an era where nearly all music businesses are floundering and struggling, they’re doing it all as a simple, five-piece bluegrass band across the front of the stage.

Sure, there are pedal boards and LED screens and smoke machines and delay, and WAH, and distortion – plenty of “no part of nothin'” moments, of course. But at the beginning and end of the day, whether touring in a Ford Econoline or with dozens of road crew and buses and tractor trailers, Billy Strings is a bluegrass musician, playing bluegrass songs, birthing thousands of new bluegrass fans, and doing all of it at the largest scale we’ve ever seen as a community and as an industry.

There’s much (well-deserved) noise to be made about all of the strange and unique ways Strings and his team have accomplished this, but even more noise ought to be generated. For the most remarkable impact of Billy Strings is that he’s shown everyone, all across the globe, that bluegrass doesn’t need to fundamentally change to be something everybody can love.

All month long, we’ll once again be celebrating Billy Strings as our Artist of the Month. Enjoy our revamped Essential Billy Strings Playlist below, check out our exclusive interview with Billy here, explore our list of favorite songs and recordings – by other artists – featuring Billy here, and stay tuned on BGS and on social media as we dip back into the archives for all things Billy Strings.

Photo Credit: Dana Trippe

You Gotta Hear This: New Music From Ashby Frank, Morgan Harris, and More

Posted on by Justin Hiltner

There are many kinds of music perfect for fall, but, in our humble opinion, almost none are better suited to the season than bluegrass, old-time, and country. (For instance, check out our playlist of Country Songs For Fall via Good Country.) Being that our latest premiere round-up falls directly between Halloween and the sad end of Daylight Savings Time, it’s apropos and then some that You Gotta Hear This is full of tunes perfect for autumn.

Mandolinist and songwriter Ashby Frank brings his version of “Blue Night,” a jam session classic that he’s performed for decades. Guitar picker Morgan Harris debuts her gorgeous video for a bluegrass and old-time standard, “Lonesome Road,” that has seemingly endless variations and versions out there. Harris’s is a stunner, drawing on a ’60s era recording of Addie Leffew.

Country and Americana singer-songwriter Garrett Owen releases his new album, Memoriam, today, so we’re celebrating the occasion with his track, “Punchline,” a deliciously melancholy and introspective number built on excellent guitar playing. Plus, Boston-based string band The Ruta Beggars “power waltz” through their new song, “Taking My Time,” with a video shot in the woods and ankle-deep in a stream.

To round out our perfectly (accidentally) fall-themed collection of premieres, don’t miss Rachel Sumner & Traveling Light debut their new Traveling Light Sessions series with “Bygone Times” from Sumner’s Heartless Things. And, Nashville country artist and songwriter Gabe Lee continues our AEA Sessions partner series with AEA Ribbon Mics – with special guests Lucciana Costa and Rachel Coats of King Margo.

It’s all right here on BGS… You Gotta Hear This!

Ashby Frank, “Blue Night”

Artist: Ashby Frank
Hometown: Nashville, Tennessee
Song: “Blue Night”
Release Date: November 1, 2024
Label: Mountain Home Music Company

In Their Words: “I’ve been performing ‘Blue Night’ on stage since my Mashville Brigade days and still include it on most shows these days with my own band. It’s a staple song in the jam scene and there have been so many great versions recorded throughout the years since it was written and originally recorded by the great Kirk McGee. When I was doing pre-production for this new record, I started looking for a more traditional sounding up-tempo song, only to realize that I have been performing ‘Blue Night’ for 20 years – and the only recordings of my version are live videos floating around the internet. So it made perfect sense to record it. I am so thrilled about the version we wound up with in the studio. It has a certain in-your-face modern vibe, but also sounds like traditional bluegrass at the same time. I’m so excited for everyone to hear it!” – Ashby Frank

Track Credits:
Ashby Frank – Mandolin, vocals
Seth Taylor – Acoustic guitar
Travis Anderson – Bass
Matt Menefee – Banjo

Morgan Harris, “Lonesome Road”

Artist: Morgan Harris
Hometown: Fort Collins, Colorado
Song: “Lonesome Road”
Album: Alone Will Tell
Release Date: November 1, 2024

In Their Words: “This arrangement of ‘Lonesome Road’ takes inspiration from the playing of Addie Leffew, a Tennessee banjo player who was recorded by Peter Hoover in the early 1960s. You can find a million different variants of this song throughout the recorded history of American folk music, but her version hooked me with its stark, ambiguous tonality and the way the usually repeated vocal refrain at the end of each line becomes a purely instrumental echo. Addie’s version became a jumping off point as I moved it over to the guitar (re-tuning to mimic the modal ‘sawmill’ tuning of her banjo) and started exploring the different opportunities that yielded. This performance was recorded live in a friend’s barn in Fort Collins, Colorado.” – Morgan Harris

Video Credit: Erik Fellenstein

Garrett Owen, “Punchline”

Artist: Garrett Owen
Hometown: Kaufman, Texas
Song: “Punchline”
Album: Memoriam
Release Date: November 1, 2024

In Their Words: “In truth, I wish it had nothing to do with my personal experience. I started writing this when I was realizing just how isolated I let myself get, when I’d been taking care of my grandmother as a full-time job and the pandemic had been going on for a couple years. Lyrically, the song looks at the danger of leaning on the comforting words of others. In reality, ‘you’ll be alright’ doesn’t solve problems. Friends are not therapists. And it’s important to be able to self soothe your way through dark, dark feelings because there won’t always be someone available to talk to. Some wounds don’t heal, but feelings usually pass.” – Garrett Owen

Track Credits:
Garrett Owen – Lead vocals, acoustic guitar, rhythm & chord melody electric guitar, piano
Taylor Tatsch – Vocal harmonies, lead electric guitar, shakers, auxiliary rhythm
Daniel Creamer – Keys, piano, bass, drums, organ, synths

The Ruta Beggars, “Taking My Time”

Artist: The Ruta Beggars
Hometown: Boston, Massachusetts
Song: “Taking My Time”
Album: Big Noise
Release Date: November 8, 2024 (single);
Label: Skyline Records

In Their Words: “In bluegrass, there’s a long standing tradition of ‘power-waltzes’ – as we like to call them in The Ruta Beggars. One of our favorites is ‘I Live In The Past’ by Bill Monroe; when we heard it, we knew we needed one of these turbo three-quarter-time tanks in our repertoire. Thus, ‘Taking My Time’ was born. At shows, we often dare our audiences to waltz along to our too-fast-to-be-danced-to tune and leave them huffing and puffing and chuckling with delight.

“But what is the meaning of the song to which these folks dance so gleefully? The third verse of ‘Taking My Time’ makes an allusion to the famous folk song and story of ‘The Oxford Girl’ (also called ‘The Knoxville Girl,’ which is the title by which I came to know the story, via a Louvin Brothers recording). The line in that song, ‘They’re going to hang me up so high, between the earth and sky’ has a haunting beauty to it that we wanted to emulate in the lyrics of our composition. We Ruta Beggars hope that ‘Taking My Time’ can be seen as our nod to the Father of Bluegrass and an exploration of a small corner of the murder ballad’s vast lore.” – The Ruta Beggars

Video Credit: Director and Videography – Adam Hribar

Rachel Sumner & Traveling Light, “Bygone Times” (Traveling Light Sessions)

Artist: Rachel Sumner & Traveling Light
Hometown: Boston, Massachusetts
Song: “Bygone Times” (Traveling Light Sessions)
Album: Heartless Things 
Release Date: October 31, 2024 (video); May 10, 2024 (album)

In Their Words: “In May, I released my sophomore record, Heartless Things, containing ten original songs with highly lush studio arrangements (think woodwinds, strings, keys, vibraphone!). However, that’s not how these songs are heard live! When touring, I bring my string trio Rachel Sumner & Traveling Light on the road with Kat Wallace on fiddle and Mike Siegel on bass. We gather ’round a single mic and magic happens as we fill out songs that have many shifting textures and moods with just three instruments and voices. We wanted to capture this magic on film, so we spent one day in the studio re-recording the entire Heartless Things album, but as you’d hear it at a live show. And so the Heartless Things (Traveling Light Sessions) was created! This is ‘Bygone Times,’ a song about the restless moments before sleep when your mind wanders down the dangerous ‘what could have been’ road.” – Rachel Sumner

More here.

AEA Sessions: Gabe Lee, Live at AmericanaFest 2024

Artist: Gabe Lee
Hometown: Nashville, Tennessee
Songs: “Drink The River,” “Alright Ok,” “Beverly,” and “Eveline” featuring Lucciana Costa and Rachel Coats of King Margo

In Their Words: “Gabe is a fresh voice with an old soul. Just listening to him is like dropping the needle on an old album at the end of the day. Feels like coming home.” – Julie Tan, AEA Ribbon Mics

More here.

Photo Credit: Ashby Frank by Melissa DuPuy; Morgan Harris by Renee Cornue Studio.

‘Sweet Critters’ Shows a Deepening of Caleb Caudle’s Point of View

Posted on by Justin Hiltner

On his new album, Sweet Critters, Caleb Caudle has no desire to reinvent himself. The North Carolina native has spent his career trying to move closer and closer to what is already inside of him. “This well is getting deeper… more nuanced,” he explains. “And I really enjoy that. I’m not trying to be repeat myself, I’m trying to be myself.”

Dedicated to friend and former bandmate Alex McKinney, who recently passed after a battle with cancer, the album rings out with appreciation for the everyday experience of life. With gratitude and grit, Caudle explores both his external and internal world as he continues to travel the hardfought and beautiful path of a touring troubadour.

Reaching Caudle by phone during his headline tour in support of Sweet Critters, he explained that on days off from the road his band likes to rent a spot out in the woods somewhere, hunker down, cook meals, and play music and board games to recharge for the shows ahead. It was during one of these recharge days that he caught up with BGS.

This album was produced by John Paul White, former member of The Civil Wars. How did that come about and what did he bring to the record?

Caleb Caudle: John Paul and I have been buddies for a long time and we had always talked about working together. For this record, our schedules finally synced up and we had the chance to do it. I traveled to Alabama with my road band. It was my first time recording with my live band and that brought something special to the record.

With John, he’s such a great singer and he pushed me harder than anyone has pushed me as far as the vocals on this recording. I think there are things he hears that other folks don’t hear, so I trusted him. I liked that atmosphere of being pushed to go further, and I really enjoyed the process.

You’ve been doing this work for a long time. This is your sixth studio album. Is there anything new, thematically, that you see in this collection, or any new places you tried to reach?

It’s kind of in a similar world to my other albums… you know, it’s love, it’s loss, it’s empathy, it’s addiction, it’s anxiety. I think there’s some more character studies than I have done in the past, which is an exercise I kind of started doing more of on my previous record, Forsythia. At this point, I’m not trying to reinvent myself so much as I’m trying to deepen it all. Some of the habits you create end up just being your style and I think that’s what’s kind of happening at this point in my career.

A lot of the record is about endurance, whether about me or through the eyes of another character – which is usually me, anyway. For example “The Devil’s Voice,” it’s an empathetic look at addiction, because I’ve dealt with that. I try not to judge the characters, I try to stay out of it in a way and let them just tell their stories. Another song, “The Brim,” is a love song that I wrote for my wife, which is also about endurance in a certain way, about endurance in a long relationship.

And then there’s career endurance. I think “Heaven Sometimes” is about that. You know you’re going to have an off night here and there, and this song is about trying to recognize that the art that I’m making is more important than any other money I might make from it and just focusing on that concept.

Sonically, where did you and White want to take this record? As far as production, did you have any specific references you were trying to achieve?

I have been trying to figure this thing out for a while where I’m trying to marry traditional instrumentation with less traditional instrumentation and sound. There’s not a lot of stuff going on in the world of music that I listen to which has vibes of fiddle and old-time string instruments blended with other electric sounds. I’m trying to mix it up and blend it to create something new and that was one of the great things about using my live band for this record. I’ve been able to bring that vision out on the road with me.

Generally, when it comes to production, I just try to stay open-minded and completely available in the moment. I try to go where the music is leading me, and stay out of it a little bit.

Speaking of your live shows, you’ve been on a big headline tour in support of this record. How has that felt?

The songs are already starting to feel more lived-in. We’ve all been playing together long enough where we aren’t really thinking about the songs anymore. We really know the material. So we are doing a bunch of different interlude stuff, and we aren’t really putting borders around anything, which feels really nice.

We are doing our Grand Ole Opry debut in November. I can’t remember not knowing what the Opry was, because everyone around me would listen to it when I was growing up. I’ve learned as I’ve gotten older that there is no one moment that can change the trajectory of your career, but I’ve gotten worse calls! And John Paul is going to come up and sing with me, so I’m excited to share that moment with the people I love.

I absolutely love the Allison Russell and Aoife O’Donovan features on this album! “The Brim” is my favorite track. Can you tell me how those guest appearances came about?

Allison came to an in-store performance I did and we talked afterwards. She was so great. I saw her again over in London and I asked if she wanted to sing on on my record and she said yes, so that was a treat.

With Aoife, I didn’t actually know her, but [she and] John Paul are friends and her voice was perfect for that song. I ended up meeting her at the Long Road Festival and got to thank her for making that recording more beautiful.

Before I let you go, I’d love to know what has been inspiring you lately?

Right now I’m kind of at a spot where this record is my entire existence. My days are: focus on the set, drive back to the AirBnb, and then get up, drive, and do it all over again. As far as art, I really like that new Waxahatchee record, and the new Dave and Gil record… there’s been so much great stuff out lately. We just heard the new Jerry Douglas record and really liked that.

But for me, nature is my number one inspiration and I’m always seeking it out. I like going to cities, but when I’m home I really like being home. I really like the land in North Carolina and when I’m there I feel like I’m back on my axis, I feel centered. It’s really nice and I always find my inspiration.

(Author’s Note: Between our interview and its publication, Hurricane Helene devastated Caudle’s beloved home region in North  Carolina and surrounding areas. We reached out to Caudle, who has been at the forefront of rescue and relief efforts, for comment and for folks who are interested in helping, he wanted to encourage donations to BeLoved Asheville. Find more ways to help Hurricane Helene relief here.)

Photo Credit: Joseph Cash

‘Acadia’ Expands Guitarist Yasmin Williams’ Creative Universe

Posted on by Justin Hiltner

Oscar Wilde said, “If a thing is worth doing, it is worth doing well. If it is worth having, it is worth waiting for. If it is worth attaining, it is worth fighting for. If it is worth experiencing, it is worth putting aside time for.”

Composer and guitarist Yasmin Williams can certainly relate to the sentiments in Wilde’s reflection. Williams – who went from New York University in 2017 to releasing her first LP in 2018 to performing across the world – says when she picked up the acoustic guitar, it was about “trying to become the best guitarist [she] could be.”

Though a straightforward aspiration, and one that Williams has pursued fervently between the release of her debut album and now of her third record, Acadia, Williams has lived through ups, downs, and unknowns of the music industry, which have shifted her goals along the way. Particularly between 2020 and 2024, when Williams wrote the songs that would become Acadia, the inherent nature of public visibility and the process of establishing herself in the music landscape led Williams to discern what exactly is worth doing, having, waiting for, attaining, fighting for, and experiencing as a musician. It’s this amalgamation of inner realizations and external escapades that make Acadia the compelling journey it is.

Listening to each piece is like exploring a miniature world. Songs like album opener “Cliffwalk” unlock the door to an event memorable to Williams and all the emotions that came with it – performing at Newport Folk Festival and writing most of the song the night before, with the rest unfolding as an improvisation on stage. Pieces like “Virga” and “Dream Lake” reflect the duality of positive and negative challenges that come with nurturing a career as a musician. The two tracks are fittingly written with this direct connection to the other in mind.

Acadia as a whole is brimming with collaboration, a potpourri of artists, instruments, and culture, songs like “Harvest,” “Hummingbird,” and “Dawning” speak directly to what can grow from embracing new friendships, communities, and the unique creative resonance that can be found therein.

Acadia may encompass a fixed window of time in her life, but much like the many meanings of its title and Williams’ own ethos for the album – a place of peace, a place where creativity can blossom – the project endures as an oasis, a reminder from the past thriving in the present that scatters new seeds for music in the future, as Williams continues to walk down a trail of her own design.

Speaking with BGS by phone before a tour that will take her across the U.S. and to the UK later this year, Williams talked about the value of empowerment and patience, the expectations of the music industry, insights that came from producing her own music, and more.

What was the evolution of your vision for Acadia like and how did things develop as you met new artists and had so many new experiences from 2020 to 2024?

Yasmin Williams: I wasn’t really envisioning the album being as expansive as it is. Back in 2020 and even before that, I was still focused on just trying to become the best guitarist I can be, trying to become more confident in my playing and more confident in my abilities.

When I played Newport Folk Festival [in 2021], it gave me the confidence and the encouragement that I needed to realize that I can actually do this for a living – be a professional musician. It definitely lit a spark and after that, I realized I should take meeting people more seriously. Not necessarily networking, but just trying to make friends with musicians that I’m meeting at these festivals since I keep seeing the same people. That’s kind of how the collaborations came about: Just me being not afraid to tell people, “Hey, I really like your music. I’d love to do something with you,” or people telling me that and me not being afraid to follow up with them because, I guess I dealt with some sort of– I don’t want to say, “inferiority complex,” but like, I feel like the musicians that are on the record have been doing their thing for long time. I’d be afraid to reach out to people and ask them to collaborate with me.

After 2021, I got over that fear, which helped immensely. That led to the collaborations and that led to me thinking, “My next record can be what I want it to be but, I can also invite people to do things that I cannot do.” Like, I don’t play saxophone, I don’t play drums. I’m not super comfortable singing on my music yet and inviting all of these people to do those things really created the atmosphere and the universe that I wanted for Acadia. I wanted it to be something that my other two records aren’t necessarily, which is a more expansive kind of universe.

How did you approach conveying themes, motifs, or emotions when writing music to include others versus writing for yourself?

Every song was different. As far as [asking myself], “How does this person fit into the theme or the emotion that I’m trying to present?” What I did was, I told the collaborator, “Here’s what emotion or mood I’m trying to evoke here. Does this make sense to you? Do you think you can do this? Let’s figure out a way to do it.” I gave them slightly free reign, but help if they needed help figuring something out.

Where does your dedication to informing folks about the social and historical aspects of music, and the prospect of personal responsibility around that, fit within your music career?

It took me years to figure out if I even wanted to be involved in making people aware of the historical aspects of the music that I was playing. I also had to learn a lot about music that I was playing and about folk music in general, because I didn’t really grow up listening to folk music at all or bluegrass or things like that. So I’ve learned a lot in the last five, six, seven years.

Things changed when I finished [my album] Urban Driftwood. Just remembering, going to protests up here in Washington, D.C. when George Floyd’s murder happened and seeing all of the political unrest and social unrest around here where I live, and obviously seeing it on the news everywhere else definitely made me change my mind. As far as being open about, for example, speaking about being a Black female guitarist, which is not something I really wanted to do in my late teens, early 20s. I definitely came around to it and now see it as a necessity.

To me, social media is a great tool to try to help educate folks, because there’s so much online at our fingertips that’s just factually incorrect. Anything I can do to try to help mitigate that, I think is good. I think it’s important for me now to be involved in the full scene in a way that’s positive and educating people – to just get involved in things or be involved in ways that I’m interested in. I’ve always been a history nerd anyway so to me, it makes sense now to do that, whereas before, I guess I just wasn’t mature enough to understand why I would have to be a musician and educate folks and have a social media presence. But now I don’t have a problem at all.

What would you describe as the most challenging aspect of making Acadia and how did you wade through that experience?

Figuring out how to finish some of the songs. I realized I have to let time pass and let it come to me. “Sisters,” for example, I came up with that melody like, two, three years ago now? And it was stuck being a two-, three-minute song for years. I thought, “This doesn’t feel done.” But I couldn’t come up with anything. Then, the night before my recording session, I came up with four extra minutes of material. For me, I can’t force the issue of finishing a song. It just kind of has to come to me. And whenever it comes, it comes. And these songs, some of them took a really long time to get finished. So that was probably the most difficult part of it.

What was the most interesting new musical technique or process you explored while making Acadia and why was it so meaningful?

Producing was the most interesting part of it; hearing what people heard in my music was by far the most interesting aspect of recording. Just hearing how people process it, then hearing what they do in response. Pretty much everyone grasped what I was trying to accomplish in the song that they’re featured on.

For example, “Hummingbird” with Allison de Groot and Tatiana Hargreaves. They both come from a more, I guess, old-time tradition, which is very different than [the kind of song] “Hummingbird” is. It took a little while for us to kind of get the song in the studio, because the song is very difficult, first of all, to play. But they absolutely nailed it. Hearing how they heard the timing and the syncopation and the melody, and the melodic aspects of the song, and how they thought, “Okay, I can fit in here and drop out here and harmonize here,” it was really interesting to see how people’s brains worked and how it’s so different from how mine works but it somehow fits together pretty seamlessly.

How did you discern your feelings when a collaborator might encourage you to try something new, versus deciding to stay true to yourself and your voice as a composer and musician?

I feel like I was more so bringing the collaborators to a different place that maybe they weren’t used to and pretty much everybody who’s on the record was willing to do that and go to somewhere new.

Once the recording process and collaboration process got started, it was really easy for me to just tell people, “Okay, I want this, this, and this.” And most of the time, people are just like, “Yeah!” With Darlingside and the song “Virga,” I made it clear that I actually wanted them to do lyrics and then we worked on that. They were open to it for the most part so for me it was easy. But maybe for some of the collaborators it was about getting them out of their usual music making mode and into a more open-minded mode.

Being ready to make an album like this, it took living life and having different experiences.

(Editor’s Note: Continue exploring our Artist of the Month coverage of Yasmin Williams here.)

Photo Credit: Ebru Yildiz

MIXTAPE: Celtic & American Folk Inspirations From Rakish

Posted on by Justin Hiltner

As a duo rooted in both Celtic and American traditions, we find the intersection of these worlds to be a rich and endlessly inspiring place. From the rhythmic drive of Irish & Scottish reels to the melodic storytelling of ballads, we’ve always been captivated by how these two traditions speak to one another. They each carry a sense of community and history, and both offer the chance to push boundaries and explore something new.

Our latest album, Now, O Now, wants to embrace this duality. It’s a reflection of our love for these traditions, but also a hope to continually reinterpret them. This Mixtape is a collection of the kinds of tunes and songs that have shaped our journey – music that evokes both the wild energy of a late-night session and the quiet contemplation of a solo walk through the woods.

These tracks are selected from the voices of friends, mentors, and heroes who have inspired our original music along the way. We hope you enjoy the mix! – Rakish

“6 Then 5” – Seamus Egan

We love to put this track on at the beginning of a long drive. Seamus continues to be a master of bringing together composition, sound design, and groove.

“Goodbye” – Sean Watkins & The Bee Eaters

This whole record is great; it combines Sean Watkins’ brilliance with the thoughtfulness of The Bee Eaters, who happen to be some of our favorite musicians in the world.

“765” – Rakish, Jamie Oshima

We composed these tunes and had the idea of having our good friend Jamie Oshima produce/remix the track. He’s an incredibly thoughtful and agile musician and brings such a unique aesthetic to new fiddle music. Thanks Jamie!

“Hidden Love/Sheila Coyles” – Four Men & A Dog

We listened to this album in the car recently and this track was so good that Conor had an epiphany about how it brought together all the elements of arranging music that inspire him: highly poetic language, mystery, and an excellent Irish tune.

“City In the North” – Maeve Gilchrist

Maeve is remarkable at seemingly everything she puts her hands to; this song highlights not only her virtuosity and inventive harmony, but also her narrative ability to weave melancholy and joy.

“Bull Frogs Croon (Suite)” – Aoife O’Donovan

This whole record is potent for so many reasons. Aoife’s setting of Peter Sears’ poems is a reminder of her singular gift for putting melody to text, and Jeremy Kittel’s string arrangements are some of the best we’ve ever heard!

“Jack Dolan” – John Doyle

Just of the grooviest versions of a ballad ever from the preeminent master of Irish guitar in the modern era.

“Imaginary People” – Viv & Riley

Viv & Riley are at the forefront of writing incredible original music inspired by their traditional music backgrounds. We’ve admired them for a long time and they always blow us away.

“6 O’Clock in the Morning” – Darrell Scott

Tristan Clarridge, who always has the best listening recommendations, turned us onto this album. This track stands out with its intense lyricism and amazing instrumental orchestration.

“Turn the Page Again” – Tim O’Brien

We’ve loved this song for so long. This whole album is incredible, but this track in particular has been a source of inspiration by bringing together Tim’s songwriting, John Doyle’s groove, and Casey Driessen’s improvisational style.

“We’ve Got Our Friends” – Maura Shawn Scanlin

Maura’s solo record impeccably brings together the many things she excels at (and some of the things this playlist hopes to demonstrate): instrumental acuity, lyrical thoughtfulness, and masterful arranging.

“Strange Vessels” – Caoimhin Ó Raghallaigh & Thomas Bartlett

Conor listens to this album all the time. It’s a source of inspiration and a reminder to make music that feels relaxed and to not use too many notes.

“Dear Starling” – Pumpkin Bread

This is a favorite tune from a band with some of our best friends we were a part of in our college days. Thanks for listening!

Photo Credit: Sasha Pedro

You Gotta Hear This: New Music From Darin & Brooke Aldridge, Adam Chaffins, and more

Posted on by Justin Hiltner

We’re excited to kick off October with a mighty New Music Friday and our first edition of You Gotta Hear This for the month.

You’ve simply gotta check out new music videos from folks like Darin & Brooke Aldridge (who pay tribute to Byron Berline with a track featuring Vince Gill), Buffalo Wabs & the Price Hill Hustle (who’ve brought us a charming animated music video), Claire Hawkins (who wrote her selection, “Oh Daisy,” while living in France), and Rachel McIntyre Smith teams up with Janelle Arthur to premiere her Honeysuckle Friend Sessions with a live cover of “Strawberry Wine.”

Plus, Darren Nicholson premieres his bluegrass track, “Windows Have Pains,” and singer-songwriter, vocalist, and bassist Adam Chaffins feels capable of anything on “Little Bit At A Time.” Our longtime friends Jamie Drake and Justin Wade Tam have teamed up on a brand new single as well, entitled “Free.”

To wrap up, don’t miss our final Yamaha Session in our latest series with the brand. It features Jack Schneider performing his original song, “Don’t Look Down.”

It’s all right here on BGS and You’ve Gotta Hear This!

Darin & Brooke Aldridge, “A Million Memories (A Song For Byron)”

Artist: Darin & Brooke Aldridge
Hometown: Cherryville, North Carolina
Song: “A Million Memories (A Song For Byron)”
Album: Talk of The Town
Release Date: October 4, 2024 (video)
Label: Billy Blue Records

In Their Words: “We’ve all had people in our lives who have believed in us, loved us, taught us, and guided us, hoping that we could see in ourselves what they have always seen. It isn’t just about teaching and shaping someone, it’s about helping them discover what they can do from within themselves. For us, it is one of our greatest joys to invest time and encouragement to those who come behind us. It is one way to pay forward the gifts given to us from our own heroes and mentors, to help bring out the best in younger people in the same ways someone did for us.

“We were reminded of these truths the first time we heard ‘A Million Memories (A Song for Byron).’ It was written by our friend Vince Gill in honor of fiddler extraordinaire Byron Berline, who was one of Vince’s closest mentors and dearest friends. Byron invited a young Vince to play banjo and guitar in his band, Byron Berline and Sundance, in the late ’70s, and took the clearly talented Gill under his wing. They remained close until Byron’s death in 2021.

“We’re incredibly honored to share the music video for ‘A Million Memories (A Song for Byron).’ As the song is extra special to us, for the meaning behind it and having the chance to sing it with a special mentor and friend. We will always treasure this opportunity to make ‘A Million Memories.’ We hope the video brings back cherished memories to those that watch the video and hear this incredible song.” – Darin & Brooke Aldridge

Track Credits:
Darin Aldridge – Vocal, mandolin, guitar
Vince Gill – Vocal
Brooke Aldridge – Vocal
Mark Fain – Acoustic Bass
Stuart Duncan – Fiddle
Brent Rader – Percussion, piano

Video Credit: Produced and directed by Jenny Gill.

Buffalo Wabs & the Price Hill Hustle, “Vagabond’s Lament”

Artist: Buffalo Wabs & The Price Hill Hustle
Hometown: Cincinnati, Ohio
Song: “Vagabond’s Lament”
Album: Buffalo Wabs & The Price Hill Hustle
Release Date: October 24, 2024

In Their Words: “‘Vagabond’s Lament’ is an homage to so many places we know so well. The personification of each location lets the song read as a lost-love song in a way, which is a fun take on the visuals the tune lays out for the audience. It’s also a fun one to play; upbeat rhythm and driving solos get the crowds moving.

“One thing this ‘Vagabond’s’ showcases for the group is our affinity for harmony. It’s a real throwback to the sounds I personally grew up with – rich, churchy voices, the breathy ritardando at the end of the tune followed by a four-part harmonic crescendo into the final phrase, and that driving stomp of a beat. This tune really wraps up so much of what we do into three and a half minutes.

“The song fits perfectly with the overall mood and atmosphere of the album; old-time influence with modern flair. It’s a toe-tapping number that could be a hundred years old if you heard it on AM radio, which fits our style nicely. It’s something that will appeal to folkies and bluegrassers alike.” – Casey Campbell, drummer, vocalist

Track Credits:
Produced and engineered by Alex Lusht at Mind Ignition Studios in Cincinnati, Ohio.
Mixed and mastered by Alex Lusht.
Bill Baldock – Bass, guitar, vocals, banjo
Scott Risner – Mandolin, vocals, banjo
Matt Wabnitz – Guitar, vocals
Casey Campbell – Drums, vocals

Video Credits: Animation by Evan Hand; Fiddle and final image by Alex Hand.

Adam Chaffins, “Little Bit At A Time”

Artist: Adam Chaffins
Hometown: Nashville, Tennessee via Louisa, Kentucky
Song: “Little Bit At A Time”
Release Date: October 4, 2024

In Their Words: “I started writing ‘Little Bit at A Time’ with Adam Wright in the fall of 2020, socially distanced on my front porch on a chilly, rain-drizzled day. The song was pretty much finished, but we both felt it was missing some more truth. The next summer, I went on a trip to the Colorado Rockies with some new friends, and, on a whim, we decided to hike a 14,000-foot mountain before the sun came up. I still remember the surreal feeling of standing on that peak after scrambling over boulders and hiking for hours to get to the top. The air was so thin above the treeline and the surroundings felt otherworldly. It was one of the most emotionally jarring events of my life. On the steep hike back down, I felt as if I were leaving a trail of lies behind me with each step. I had just totally surpassed any physical feat I ever thought I was ever capable of, making a monumental truth out of a lifetime of lies I had told myself. I felt capable of anything. In the fall of 2021, I got married and found the truth in love. I now have some new perspectives in life and, perhaps, the missing pieces to that song about delayed gratification.” – Adam Chaffins

Jamie Drake & Justin Wade Tam, “Free”

Artist: Jamie Drake & Justin Wade Tam
Hometown: Los Angeles, California (Jamie Drake); Nashville, Tennessee (Justin Wade Tam)
Song: “Free”
Album: So Many Melodies
Release Date: October 4, 2024
Label: Soundly Music

In Their Words: “‘Free’ was written over a Zoom session in 2021 as pandemic restrictions were beginning to lift. We talked about how this historical time had affected us — how the idea of ‘connection’ had taken on a whole new meaning and how we as humans had become more disconnected from ourselves and from nature in the process. For most, the need to stay connected to technology had become imperative as well as required; a reality that continues today. Maintaining a healthy relationship with our screens is an extremely difficult balancing act. ‘Free’ is a bit of a wake up call to remind us to take a break when we feel the call, to get back into nature and live in a more balanced way, connected to each other in the present moment instead of the narrative on our screen.” – Jamie Drake & Justin Wade Tam

Track Credits:
Written by Jamie Drake and Justin Wade Tam.
Justin Wade Tam – Vocal, acoustic guitar
Jamie Drake – Vocals, acoustic guitar
Juan Solorzano – Electric guitars
Ross McReynolds – Drums
Alec Newnam – Bass
Produced, engineered, and mixed by Jordan Lehning.
Mastered by Casey Wood.
Additional engineering by Reid Sorel.

Claire Hawkins, “Oh Daisy”

Artist: Claire Hawkins
Hometown: New York City, New York
Song: “Oh Daisy”
Release Date: October 4, 2024 (video)

In Their Words: “‘Oh Daisy’ was one of the first songs I wrote during my time as an artist-in-residence in France. That time abroad really inspired me to think about my own hometown and what it means to identify as a New Yorker. In writing ‘Oh Daisy,’ I thought back to my earliest memories of wanderlust as a child growing up in New York City. Children see the world through such a different lens and it was interesting to explore how much my worldview has evolved, thanks to the time I’ve gotten to spend with different cultures around the world. When it came time to shoot the music video, I really wanted to capture a certain light-hearted free-spiritedness, but balance it with a feeling of internal conflict. Working with Meg, I think we were able to reflect the challenge of the comforts of home fighting against the curiosity that pulls us away from what we know.” – Claire Hawkins

Track Credits:
Written and performed by Claire Hawkins.
Produced by Hana Elion.

Video Credit: Directed and edited by Meg Mann.

Rachel McIntyre Smith & Janelle Arthur, “Strawberry Wine” (Honeysuckle Friend Sessions)

Artist: Rachel McIntyre Smith & Janelle Arthur
Hometown: Oliver Springs, Tennessee (both Rachel and Janelle)
Song: “Strawberry Wine” (Deana Carter cover)
Release Date: October 5, 2024

In Their Words: “The Honeysuckle Friend Sessions are a companion video series to go along with my latest EP, ‘Honeysuckle Friend.‘ In this series, I invite my friends who are talented musicians to cover a song with me. I was over the moon when Janelle Arthur said that she would join me for this series! Having the opportunity to sing with Janelle was such a cool experience because we are both from the same hometown (Oliver Springs, TN) and I have admired her and her artistry since I was really young. I grew up watching her perform, voting for her on ‘American Idol,‘ and listening to all her music. Her voice is incredible, and so is she. I love ‘Strawberry Wine’ by Deana Carter, so I was very happy when Janelle suggested it. I especially love the incredible riff that Janelle so effortlessly sings at the end of the song!“ – Rachel McIntyre Smith

“Rachel is so talented and dedicated to her craft. I was excited to collaborate and finally get to sing with my hometown girl! ‘Strawberry Wine‘ is such a classic and just felt like the right song to sing for this series.“ – Janelle Arthur

(Editor’s Note: Follow the Honeysuckle Friend Sessions series on Rachel McIntyre Smith’s YouTube Channel.)

Track Credits:
Written by Matraca Berg and Gary Harrison.

Video Credit: Filmed and edited by Rachel McIntyre Smith.

Darren Nicholson, “Windows Have Pains”

Artist: Darren Nicholson
Hometown: Haywood County, North Carolina
Song: “Windows Have Pains”
Release Date: October 4, 2024
Label: Mountain Home Music Company

In Their Words: “What can I say? I love sad songs. I have since I was a small child. In an odd way, sad songs bring me comfort and happiness. I’m drawn to things that evoke emotion. When I first heard these words as a kid, I loved them. I never forgot how the hook and spirit of the song impacted me as a listener. The song was originally written by Wes Buchanan and all these years later, Mark Bumgarner and myself got down and dirty and wrote an additional verse to complete the song for us. I love this one. If you like ole timey music and enjoy your hurtin’ – this one’s for you.” – Darren Nicholson

Track Credits:
Darren Nicholson – Mandolin, octave mandolin, lead vocal, harmony vocal
Tony Creasman – Drums
Kristin Scott Benson – Banjo
Zach Smith – Upright Bass
Deanie Richardson – Fiddle
David Johnson – Acoustic guitar, Dobro
Jennifer Nicholson – Harmony vocal

Yamaha Sessions: Jack Schneider, “Don’t Look Down”

Our latest series of Yamaha Sessions concludes with a final performance from guitarist, songwriter, and producer Jack Schneider. (Watch the full series of videos, which include performances by Trey Hensley as well, here.)

For his second Yamaha Session, Schneider picks up his Yamaha FS9 R acoustic guitar to perform “Don’t Look Down,” an original song from his 2022 album, Best Be On My Way. While the studio version features Schneider’s longtime friend, Liv Greene, the track certainly shines solo in this context, as well.

Gentle fingerstyle picking gives way to tender vocals, text painting a long-suffering image with an ultimately hopeful tinge. It’s a song about keeping your chin up, literally and figuratively. Written during the turmoil of the pandemic, the message in the lyrics is certainly not one of toxic positivity, making the moral within them even more resonant. It’s easy to tell Schneider is not just speaking to his listeners, but also to himself.

More here.

Photo Credit: Darin & Brooke Aldridge by Kim Brantley; Adam Chaffins by Natia Cinco.

You Gotta Hear This: New Music From Nefesh Mountain, Juliet Lloyd, and More

Posted on by Justin Hiltner

Quality over quantity is sometimes what it’s all about. This week’s edition of our premiere round-up is small but mighty, with brand new tracks and videos from a stellar collection of roots musicians.

To kick us off, singer-songwriter Juliet Lloyd brings us a properly spooky video for her track, “Call Your Wife,” which was filmed at an abandoned amusement park in West Virginia. The song is about anger and shame, growth and change, running away and getting caught back up in it again, too. It’s an excellent lead in to spooky and scary season, that’s for sure.

Next, our friends Nefesh Mountain have a gorgeous new fall-tinged video for an original song, “Regrets In The Rearview,” that features an all-star lineup of bluegrass legends. It’s a paean to gratitude, to living life for the moment, and celebrates finding peace – and a home – in movement and change. We think it’s the perfect song to put on for your drive to the pumpkin patch or apple orchard.

To wrap us up, California roots duo Two Runner – made up of Paige Anderson and Emilie Rose – perform “Late Dinner” live from a cozy front porch. They combine old-time, bluegrass, Americana, folk, and more into their own exemplary sound, which highlights the slightly melancholy story just perfectly.

It’s an apropos musical triptych for fall, for golden hour, for sipping some hot cider or cozying up beneath a blanket as the autumn rain falls outside. And, you know what we think… You Gotta Hear This!

Juliet Lloyd, “Call Your Wife”

Artist: Juliet Lloyd
Hometown: Washington, D.C.
Song: “Call Your Wife”
Album: Carnival
Release Date: October 25, 2024

In Their Words: “It’s funny to me that the most carnival-sounding song on the entire album is not the title track – it’s this one. ‘Call Your Wife’ was inspired by an anonymous text message that I got in the middle of the night. I had released another single from the album, ‘Pretty,’ a few weeks before, and it was a really personal song that parsed through my complicated feelings about an old relationship that I’ve mostly run from in the 20 years since. The text message said I wasn’t being fair to the guy in the song– and all of a sudden I was 18 again, feeling afraid and ashamed. And then I got angry.

“Todd Wright (who co-wrote and produced) and I managed to channel those feelings into a track that goes to a really unexpected place. It starts sweetly threatening and builds to a really satisfying, vengeful final chorus. I love the unhinged banjo and bass lines that kick in in the second verse. After we finished the track, I knew I wanted a video to match the vibe. The song and video for me are really about using art to process, to heal, and to connect with anyone else who has ever felt like they couldn’t speak up and confront their gaslighters and abusers.” – Juliet Lloyd

Track Credits:
Written by Juliet Lloyd & Todd Wright.

Video Credits: Produced by Mind in Motion.
Directed by Joshua Land and Victor Fink.
Featuring Todd Wright and Steve Quintilian.
Colleen Laffey, Zachary Buckley, Abigail Sussman – Production assistants
Shot at Lake Shawnee Abandoned Amusement Park in Rock, West Virginia.

Nefesh Mountain, “Regrets In The Rearview”

Artist: Nefesh Mountain
Hometown: New York, New York
Song: “Regrets In The Rearview”
Album: Beacons
Release Date: September 25, 2024 (single); January 2025 (album)
Label: Eden Sky Records

In Their Words: “We’ve spent the last number of years on the road, getting the band out there as much as possible, all with our now 3-year-old daughter, Willow! Needless to say, it can be hard to balance touring with writing sometimes, but when we finally sat down in early 2024 to write new material, dozens of songs just poured out of us. We spent those early months feverishly creating, composing, and refining our vision and voice for this next iteration of the band. The result of this musical alchemy is Beacons; our new double LP containing eight Americana songs with our electric band on disc one, and 10 more on the bluegrass-oriented disc two.

“We feel eternally grateful and beyond lucky to have become close with our heroes over the years and while our own band makes up much of the two discs, we also called on our friends Sam Bush, Jerry Douglas, Stuart Duncan, Rob McCoury and Mark Schatz to bring this song to life! This particular song also marks an incredibly special first for us – our older daughter Millie is on it, beautifully singing the third part in the chorus and duetting with mom on verse four.” – Eric Lindberg

“‘Regrets In The Rearview’ kicks off the bluegrass half of Beacons and is a tune all about gratitude and living in the moment. It’s our own personal reminder to stay present and keep moving forward instead of dwelling too much on the past. It’s about finding some peace with the struggles we have, and we wanted to channel the blissful freedom we feel when we’re out there hitting the road.” – Doni Zasloff

Track Credits:
Written by Eric Lindberg and Doni Zasloff.
Doni Zasloff – Vocals
Eric Lindberg – Vocals, guitar
Stuart Duncan – Fiddle
Jerry Douglas – Dobro
Sam Bush – Mandolin
Rob McCoury – Banjo
Mark Schatz – Bass

Video Credits:
Shot in and around the communities surrounding Woodstock, New York.
Directed and conceptualized by Lindberg and Zasloff along with Rafael Roy & Kelin Verrette with All Solid Things.

Two Runner, “Late Dinner”

Artist: Two Runner
Hometown: Nevada City, California
Song: “Late Dinner”
Album: Late Dinner
Release Date: September 13, 2024
Label: Gar Hole Records

In Their Words: “‘Late Dinner’ is a song for all the people who have been ghosted and let down. That feeling of yearning for the perfect relationship dinner where everything feels glowy-warm amongst the candle light. I was cheated on/ghosted in a somewhat new relationship and cooked dinner that night yearning for the person to be there and wishing things were different. This song is a reminiscence about that time and hopefully relates to those who have made the ‘late dinner’ without the person ever showing up.” – Two Runner, Paige Anderson and Emilie Rose

Track Credits: Written by Paige Anderson.
Performed by Paige Anderson and Emilie Rose.
Video Credits: Filmed, recorded, mixed, and edited by Nick Futch.

Photo Credit: Nefesh Mountain by Rafael Roy & Kelin Verrette; Juliet Lloyd by Anna Haas.

Out Now: Sam Gleaves

Posted on by Justin Hiltner

Last month, Sam Gleaves released his latest album, Honest, with the intention of sharing his truth. Sam was born and raised in southwest Virginia.

Songs from the project, like “Queer Cowboy” and “Fear,” were written for his partner and detail queer experiences. Lyrics like “Love is stronger than fear” point toward the challenges of being part of the LGBTQ+ community and the need for authentic love. Other songs address his parents, like “Walnut Tree,” written for his father, and “Beautiful” for his mother. Both songs feel nostalgic and share the value of simple things like gratitude and a day outside, under the trees.

In our Out Now interview, Sam shares his current state of mind, his favorite LGBTQ+ artists, the best advice he’s ever received, and more.

What is your current state of mind?

I feel grateful. After years of work, the new record Honest is out in the world! I am fortunate to have worked with a bunch of my dear friends in the creative process. They are all world-class musicians and singers. Hasee Ciaccio and Josh Goforth were the core team in the studio. We arranged the songs together and recorded most of them as a trio. Josh Goforth is a genius producer and his vision really made the songs shine. A number of my favorite musicians and singers guested on various tracks, like Carla Gover, Linda Jean Stokley, Jared Tyler, Jeff Taylor, and Chris Rosser. I’m proud of every second of music we created together.

Why do you create music? What’s more satisfying to you, the process or the outcome?

What a great question! I create music because I need it. I love storytelling. I walk through memories in my writing process. In the songs I selected for my new record, I wanted to honor the people who have shaped my journey: family, musical collaborators, and lovers. All of those people are tied to places etched onto my heart, especially southwest Virginia and central Kentucky. I process grief through my songwriting, because there is great injustice in our world and that affects the people and places that I love. Most of all, songwriting is restorative and the songs become a mode of connection.

What’s the best advice you’ve ever gotten?

To try to laugh or smile when I make a mistake. I feel that applies in my musical life and the rest of my life!

Who are your favorite LGBTQ+ artists and bands?

I have too many favorite LGBTQ+ artists and bands to name! I am grateful for friendships with my mentors, who are also pioneers, like Cathy Fink & Marcy Marxer, Peggy Seeger, and the members of Kentucky’s own Reel World String Band.

Over the past decade or so, it has been a great joy to see the many roots musicians that are celebrating their identities, folks like Justin Hiltner, Jake Blount, Jared Tyler, Tyler Hughes, Amythyst Kiah, Pierceton Hobbs, Larah Helayne, and many others. The list goes on and on!

For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?

When I was in my early twenties, I met Cathy Fink & Marcy Marxer. Cathy and Marcy have been the two most generous, supportive, and loving mentors in my musical life. Cathy produced my first record, Ain’t We Brothers, and Cathy and Marcy both played on it. Their mentoring helped me to learn to believe in my art and pour myself into it. By being life partners and musical partners in the traditional music world, Cathy and Marcy created space for musicians like me to be part of the community. They are committed to celebrating diversity and advocating for social justice through their music. I think that all young LGBTQ+ people should hear Cathy and Marcy’s recordings, especially Cathy’s song “Names” and Fred Small’s song “Everything Possible.” I am one of many folks who have benefited from Cathy and Marcy’s wisdom and friendship.

Around the same time that I met Cathy and Marcy, I heard Gaye Adegbalola perform. Gaye’s music, her luminous personality, and her openness about her identities made a great impact on me. I was deeply moved to witness an artist so firmly rooted in blues traditions telling her story as a queer Black woman. At that time, Gaye had recently recorded an album called Gaye Without Shame, one of my absolute favorite records. I didn’t realize how much shame I held around my queerness until I heard Gaye sing her brilliant songs with such confidence and verve. From the moment we met, Gaye encouraged me and poured out love. As she says herself, Gaye has a whole lot of mojo to give!

Photo Credit: Erica Chambers