Tag: Phoebe Bridgers

Chatham County Line Say Goodbye to Bluegrass, ‘Hiyo’ to Synth-grass

Posted on by Justin Hiltner

For nearly a quarter century, North Carolina-based Chatham County Line have pushed the boundaries of American roots music, but with their new album, Hiyo, they’ve finally knocked them down.

Released January 26, the album contains some of the band’s most far-flung soundscapes to date, as they introduce synths, drums, and other sonic elements to their repertoire for the first time ever. The resulting creations sound more like synth-grass than bluegrass, with everything from drum machines to stretched out harmonicas, harmoniums, and other oddities guiding the way. According to guitarist, vocalist, songwriter and founding member Dave Wilson, the drastic shift in direction stems in part from the departure of banjo player Chandler Holt, who stepped away from the band following 2020’s Strange Fascination to spend more time with family.

“We listen to all kinds of music so I wanted to make an album that reflected that,” Wilson tells BGS. “We knew when Chandler left that we didn’t want to just do the same thing we’d always done with a different person on banjo. That’s not how artists grow in the world. You instead look at something as a springboard for change, which is exactly what we did in moving toward a sound that more closely resembles the music we enjoy playing when nobody’s watching.”

The experimentation on Hiyo was further encouraged by its producer, Rachael Moore, who the band met during their time portraying George Jones’ backing band on the Showtime series, George & Tammy. Both the opportunity to be a part of that show — which manifested itself through a friend of a friend — and meeting Moore were complete happenstance, with the latter seeing the two parties build an instant rapport.

“Anybody that works in the studio with T. Bone Burnett that many times and has been a part of records like [Robert Plant & Alison Krauss’ Raise the Roof] is alright by me,” praises Wilson. “That’s the kind of music I listen to, so us making that connection to Rachael made us realize how hard a worker she is and how much she understood the sound we were going for. We knew then she was who we wanted to record our next album with.”

Speaking with BGS from his home near Raleigh, Wilson further touched on the band’s connection to George & Tammy, the similarities between the recording process and being on a film set, Phoebe Bridgers’ influence on one of Hiyo’s songs and more.

Who are some of the bands you’ve been listening to that helped inspire the sonic shift of Hiyo?

Dave Wilson: That last Sarah Jarosz record really blew me away. She’s just a phenom. There’s also two radio stations that I listened to religiously throughout the writing process for this album. Whenever I’m messing around with a guitar or building a tube amp in my basement I listen to the radio, and one of the stations I tune into is called “That Station” here in Raleigh. They play everything from us to Mipso – and a bunch of other local acts – in addition to bigger Americana artists making waves. That’s where I heard the Sarah Jarosz stuff.

Being tuned into what people are doing today is very important to me, because I’m a part of this too. If I’m asking people to listen to me instead of Led Zeppelin then I need to listen to Sarah Jarosz instead of Led Zeppelin, because she’s a living, breathing artist that deserves that respect. I take a lot of joy out of not only buying modern albums, but listening to radio that supports those artists as well.

On the flip side, I love WWOZ 90.7 FM in New Orleans. That’s on constantly and is full of crazy, disparate sounds, old songs, funny blues stuff and more. I never get bored of DJ Black Mold down there.

How did the rapport working with Rachael Moore on George & Tammy translate to the studio with these songs?

I’ve listened to a million records and I really wanted this one to sound like the ones in my head. In the studio we tracked three or four songs per day, then at night I’d lay in bed in disbelief at the way the music sounded better than I had ever imagined us doing. We demoed the songs, so we had an idea of what it was going to sound like, but with the additions of [Jamie Dick and John Mailander] there was a huge leap forward that outpaced my wildest imagination. I’m so glad we were able to capture that, and it wouldn’t have happened without Rachael’s knowledge and connections.

Did you notice any similarities between your experience recording this album and time on set for George & Tammy?

It was really about seeing how hard all these people work, plus the whole concept of down time vs. on time, where you have to deliver an emotional performance before sitting around for 20 minutes as the cameras get moved around before jumping right back into your role like you didn’t miss a beat. It shows you that that is the job. It’s more about sitting around mentally preparing yourself and managing your emotions between those two extremes.

That rubbed off, because in the studio it’s a lot like that, too. In most cases the songs are written long before you go to record them, so when the time comes to get in front of the microphone you’ve got to deliver it with an intensity like it’s still brand new. That’s how George Jones delivered a vocal. He left no doubt that he was the character in his songs, not just the person singing them. That’s the approach we’re trying to take so we can deliver the goods when it matters most.

One of my favorite songs on Hiyo is “Heaven,” which I understand is somewhat inspired by Phoebe Bridgers, of all people. How’d that come about?

I live about three hours from Charlotte, which is where I grew up. My father, who’s in his early 90s, started going through some Alzheimer’s stuff during COVID that had me driving back and forth often to take care of him with my mom. During those trips I got to listening to Phoebe Bridgers to the point I’d have one [album] on repeat each way of the drive. I really dig her style of writing and think some of that influence rubbed off when piecing together “Heaven.”

The song was actually more of a country shuffle in the beginning, so in the weeks prior going to the studio I got my drum machine out of the basement to make some demos for Jamie, so he’d have a template of it to reference. One day I decided to try the Fender VI on it, hit the drum machine, and got playing. Something about those sonic elements, how the words came out and the harmonica completely shifted my perspective of it.

That’s another way we approached this record when we added a drummer. We went back through our catalog and redid a bunch of old songs entirely different as if we were covering ourselves. So with this album, I approached it as if I were covering these songs and how we could change them up, because my favorite cover songs are completely different from the originals except for the story and melody.

You mentioned earlier the influence of New Orleans’ WWOZ on this record and I feel like no song better embodies that than “B S R.” Would you agree with that assessment?

It was a huge part of that song. I actually also play banjo on it in open G tuning. One day I also tuned my Stratocaster to it and began playing the opening riff, which isn’t necessarily what the song is built around, but did help it to pop when we first brought it to the studio. Since then, I began playing Stratocaster in open G with super heavy, flat line strings on it and it’s become one of our favorite songs to play.

I also have family in Mississippi and my mom’s from Alexandria, Louisiana, so I traveled there a lot as a kid and have a general knowledge of the area. To be honest, New Orleans is the coolest city in America. It’s the one that’s got soul. There’s other towns with soul, but none that can match New Orleans. There’s live music in literally 40 places every night!

I’m also fond of the change of pace provided by the instrumental “Under the Willow Tree.” How does your approach change when writing songs with lyrics vs. composing an instrumental piece like this one?

I think some songs just lend themselves to having a story told over them and some, instrumentally, can tell a story from their melody alone. When Chandler left the band it was a sign to me to up my game and dig in a little harder, because until then I’d deferred to banjo and mandolin for most of the solos and heavy lifting. I’m a huge fan of Leo Kottke and other guitar virtuosos, so “Under the Willow Tree” is my homage to players like him.

Despite not being an instrumental, another song that gives me the same feel of “Under the Willow Tree” is “Stone,” both for the wisdom it imparts and its ballad-like feel. What was the motivation behind it?

That is the one song that I wrote during the pandemic. It was informed by all of the protests that were going on and the idea that when it comes down to it, you have the ability to change not only yourself, but you can change those around you with whatever power you have at hand. That can come from a deep conversation and from exchange of ideas and respect for the other person’s opinion, but in this case it comes from our music.

Music has a way of bringing people together in a way that few other things can match — just ask Taylor Swift fans! At the end of the day, we’re all gonna be a piece of dirt that a tree grows out of, so just relax. “Stone” was born out of a simple riff and that idea questioning what is permanent in this world, because all want something positive to persevere when you’re done and your story is getting told.

One thing that I regret about the advent of recorded music is the families that used to sit around, everyone playing an instrument and singing. There’s a therapy in that that went long overlooked. It’s just really positive and healthy for everyone included to sing a bit and let the world go for a minute.

Photo Credit: York Wilson

If You Love Boygenius, You’ll Love These 18 Folk Bands

Posted on by Justin Hiltner

Can’t get enough of the record by boygenius? We understand and empathize. Did your ears perk up immediately when you heard the twinkle of the banjo on “Cool About It?” Do you rewatch the video of Julien Baker, Lucy Dacus, and Phoebe Bridgers performing The Chicks’ “Cowboy, Take Me Away” over and over and over again? If so, this list is for you. 

It’s not hard to place boygenius within the universe of folk music and its endless variations, with their perfectly blended, nearly familial harmonies, their lyrics and song structures that are so singable, cyclical, and relatable, and the way, together, they exceed the sum of their individual parts by leaps and bound. Comparisons to other iconic supergroups – Dolly, Linda, and Emmylou’s Trio, or Crosby, Stills, Nash, & Young – illustrate further that boygenius are often a string band and always a folk group. 

We’ve collected songs from 18 other folk groups that also center female and femme friendship, slippery harmonies, and egalitarian ensemble arrangements in their music. If you adore boygenius, these acoustic bands are for you. 

(Editor’s Note: Scroll for the playlist version of this collection.)

JOSEPH

The band JOSEPH’s latest release, The Sun, is perhaps their furthest foray into pop- and indie-folk, with a sound that’s not just adjacent to “the boys” of boygenius, but often parallels the genre and aesthetic territories explored by the latter trio. These songs are rich and fully realized, from the tender and contemplative to full-bore rock and roll. Remind you of anyone? 

Rainbow Girls

We’ve loved watching this California-based group grow and expand their listenership across the country and around the world, from the Bay Area to Cayamo and beyond. Like boygenius, Rainbow Girls have quite a few joyous, smile-inducing cover videos that are wildly popular on the internet, but the group really shines while singing sad, introspective songs that still make you feel so good. 

The Wailin’ Jennys

Since their first studio album in 2004, the Wailin’ Jennys have become one of the most beloved vocal trios in bluegrass, old-time, and folk music, with a robust, devoted international fan base. Perhaps best known for their appearances on public radio, the Juno Award-winning ensemble is in a phase of part-time, infrequent touring while balancing motherhood and solo projects, too. Their cover of “Wildflowers” remains one of the most popular BGS posts in the history of the site. 

The Chicks

An important addition to this list – the aforementioned “Cowboy, Take Me Away” cover by the boys notwithstanding – the similarities between the Chicks and boygenius are many. Righteous anger, agency, and collective rebellion, flouting gender roles, “tradition,” and industry norms – the list could go on and on. But perhaps the most striking throughline between both trios are their evident prowess as instrumentalists, whether guitar, fiddle, banjo, or voice. And there’s a tambour to Phoebe and Julien’s vocals that certainly conjures the crystalline, one of a kind singing of Natalie Maines. 

Mountain Man

What would boygenius be, together or separately, without longing? Without lost or waning or fading or burning or lustful or ethereal love? Love that’s sexual and romantic and hungry, but love that’s tender, platonic, and eternal, too. Mountain Man, who describe themselves as a “trio of devoted friends,” conjure all of the above within their catalog and certainly on “Baby Where You Are,” with a vocal arrangement that could have been pulled right from the record. 

Plains

Country-folk duo Plains, a duo made up of Katie Crutchfield (Waxahatchee) and Jess Williamson, could be described, in a boygenius-centric way, as sounding like that band dragged through… well, the plains. There’s an agnostic, informal country aesthetic here that sounds just like the prairie of which they sing on “Abilene.” And, their origin story matches the boys’, as well, with Crutchfield and Williamson first admiring each other’s music before joining forces. There are far worse impetuses to start a band than mutual admiration.

I’m With Her

Does the transitive property apply to trio supergroups? Because, if I’m With Her is a band of bona fide bluegrassers playing delicious indie-folk and folk-rock, then that makes boygenius, a delicious indie-folk and folk-rock band that much closer to being bluegrass, right? Right? Okay, it’s nonsense, but genre is dead. (Long live genre!) We love how our friends in I’m With Her, Sarah Jarosz, Aoife O’Donovan, and Sara Watkins have colored outside the genre lines across their entire careers, not just in their collaborations together. Now, for a collaboration between I’m With Her and boygenius. Please.

 Trio 

While Dolly Parton, Emmylou Harris, and Linda Ronstadt collaborated on Trio and Trio II at the heights of their careers, boygenius came together as a supergroup when each of its members were on steep ascents, launching into the stratosphere. Somehow, as with Trio, the collective art boygenius has created supersedes even their heightening fame, not just as artists and musicians but as celebrities, too. These are just some of the reasons Trio comes to mind in the same train of musical thought as boygenius. Another is the “True Blue” friendships underpinning both groups.

case/lang/veirs

Our hearts, be still, because a few short days ago kd lang shared a photo on Instagram with Laura Veirs captioned: “Waiting on Mr. @nekocaseofficial to bring the love…” Whatever they’re working on, it will be must-listen and anxiously awaited! There are so many connection points between this incredible assemblage of musicians and the boys. Queerness; ethereal production; poetic lyrics; swapped lead vocals; oh-so-much text painting. If you’ve never given case/lang/veirs’ 2016 self-titled album an in-depth listen, there’s no better time. But the lead track, “Atomic Number” is an excellent audio swatch for the entire record.

Lula Wiles

Though on indefinite hiatus, Lula Wiles remains one of BGS’ favorite folk groups to emerge from the New England / northeast string band scene in the 2010s. Like boygenius, Isa Burke, Eleanor Buckland, and Mali Obamsawin each have vibrant and widely variable (while interconnected) solo careers, so despite their music making as a group being on pause, there’s a wealth of music in their combined and individual catalogs to binge your way through. We suggest starting with “Hometown,” a track that’s stuck with us since its release on What Will We Do in 2019. 

Lucius

One in the solidly pop/pop-rock category, Lucius still have dabbled often and intentionally in Americana, folk, and country, as demonstrated by this track from their latest album, Second Nature, which features their friend and tourmate Brandi Carlile and country star Sheryl Crow. It listens more similar to Phoebe Bridgers’ or Lucy Dacus’ genre aesthetics overall, but still calls on two roots musicians and vocalists, highlighting the mainstream success such cross pollinations attract.

Kate & Anna McGarrigle

Known for their iconic, self-titled 1975 album Kate & Anna McGarrigle, often referred to as the McGarrigles or the McGarrigle Sisters, epitomized the post-folk revival appetite for sincerity, authenticity, and literature in song, but their music never felt trope-ish, cheesy, or painfully earnest at the same time. Instead, its impact comes from its vulnerability and raw emotion, as in “Go Leave,” a song written by Kate for her unfaithful husband (Loudon Wainwright III). The lyrics drip with an indelible pain, reminding of Lucy, Julien, and Phoebe all, who for ours and hopefully their own benefit, often bare their entire souls in song.

Our Native Daughters

There’s a quality to boygenius’ music that reminds of church, of songs intentionally crafted for group singing and raising our voices up together. Perhaps it’s their bond as friends or their love of seamlessly blended harmonies and unisons, perhaps it’s their own histories with and upbringings in/around the church, perhaps it’s the relatability of their lyrics, but whatever it is their music begs to be joined. The same is true for Songs of Our Native Daughters, by roots music allstars Rhiannon Giddens, Leyla McCalla, Amythyst Kiah, and Allison Russell. You can hear their voices twining not only in sound, but in message and mission, and listeners can’t help but feel the urge to sing along. Music by community and for community, that centers and celebrates the friendships of those creating it. 

The Secret Sisters

 The Secret Sisters have a penchant for the macabre, the spooky, the longest shadows and the darkest nights, often sung to a gritty minor key. They highlight the classic Southern Gothic aesthetics of their Alabama homeland with a groundedness and hair-raising realism. It’s not difficult to picture them, say, wearing rhinestoned skeleton suits. This collaboration with their friend and (sometimes) producer Brandi Carlile soars, highlighting the similarities between Laura Rogers’ and Lydia (Rogers) Slagle’s and Lucy Dacus’ voices. 

Larkin Poe

Now, from which folk and acoustic group can you get the rock and roll, shredding guitar solo, writhing on the ground, leaping into the crowd, pyrotechnic, Julien Baker-sprinting-across-the-stage, grand finale level energy for which boygenius is becoming known as they tour the record? It’s that caricature of a caricature of rockism that boygenius do so well. Look no further than blues duo Larkin Poe, made up of sisters Rebecca and Megan Lovell (who, the diehard fans will remember, began their careers as a family bluegrass band). Every song on their albums or in their live sets is dialed to eleven on the face-melting meter. They skewer the performative masculinity of the genres they inhabit – just like boygenius – not by mocking, but by doing it better. And we love the genderfuckery and queerness they bring performing a lyric like “She’s a Self Made Man.” Again, just like boygenius.

The Roches

What could be more archetypically boygenius than exploring familial trauma? A gutting hook standalone, taken in this context sung by sisters Maggie, Terre, and Suzzy Roche, “Runs in the Family” is jaw-dropping. Another group lauded and adored for their releases in ‘70s and into the ‘80s. Their music runs in the family, too, with Lucy Wainwright Roche (daughter of Suzzy), who is an accomplished singer-songwriter. Keep Dacus’ “Thumbs” and the record’s “Without You Without Them” in mind as you listen.

The Burney Sisters

Fuzzy, full, and angry guitar is the sound bed for this, the title track from The Burney Sisters’ latest album, Then We’ll Talk. One of the hallmarks of boygenius’ generation of women and femme rockers is that their expressions of anger, justice, agency, and self advocacy feel real, not just like costuming for a genre that prides itself on counterculture and middle fingers literal and proverbial. When you hear women express anger in rock and roll, it doesn’t feel affected or constructed, and that’s one of the main reasons why women continue to lead – and revive – the genre.

Shook Twins

Part of the appeal of a group like boygenius, and Shook Twins as well, is the beauty in lyrics simply stating exactly what they mean. These songs are accessible, listenable, resonant, and thereby incredibly impactful. “Safe” by Portland, Oregon-based twin sisters Katelyn Shook and Laurie Shook is one of their most popular numbers – especially their acoustic version. The singer cries out to be seen, heard, and loved. A common refrain for Phoebe, Lucy, and Julien as well. 

Photo Credit: Matt Grubb

MIXTAPE: Mary Bragg’s Songs That Talk About the Hard Stuff

Posted on by Editor

Working your way through a hard time is pretty much impossible without the relief that comes from listening to music. In the last four years, I’ve focused a large amount of my listening on songs that talk about the hard stuff, just so I can feel better about my own. Coming out; divorce; difficult family dynamics; political divisiveness — any one of those things could send anybody reeling, but put ‘em all together, and wow, time to put on some tunes. — Mary Bragg

Aaron Lee Tasjan – “Up All Night”

Aaron’s sense of freedom and celebration of self combined with his outrageous talent for songwriting and production comes together wistfully in this wild piece of ear candy that I can never get enough of.

Joy Oladokun – “Breathe Again”

“Breathe Again” was the song that introduced me to Joy’s music, and it is just the most life-giving sentiment spoken through pain with honesty. It’s been meditative and healing for me.

Tegan and Sara – “Closer”

What a bop.

Gillian Welch & Dave Rawlings – “Hard Times”

There’s a Gillian & Dave song for every season of life. This one, of course, could apply to any kind of hard time you’re going through, and Gillian’s lilting delivery has me simultaneously sitting in my pain and crawling out of it one refrain at a time.

MUNA feat. Phoebe Bridgers – “Silk Chiffon”

Again with the bops- MUNA flings themselves into romantic pop bliss and brings us along for the party.

Stephanie Lambring – “Joy of Jesus”

People sure love to talk about your “lifestyle choices.” What I know is that living fully in my heart and my body and mind should not put me in a category that’s cast out, made less than, or made the subject of anyone’s ire. I won’t be told I’m going to hell just for loving an incredible human being who happens to be of the same sex.

Erin Rae – “Bad Mind”

It’s hard to believe that in 2022 there are still millions of people who think you’ve lost your mind for loving a person. Loving a person. And yet, those opinions are much stronger and more deeply felt than I ever realized they were; they can creep into your psyche and try to steal your joy, but I’m just trying to live a good life that leads with love, so I keep showing up as myself, trying my darnedest to claim and protect my own happiness.

Indigo Girls – “Closer to Fine”

More so heroes to me now than they already were, returning to this iconic song has taken on new meaning for me since I came out. Amy & Emily have been trailblazers for a long time, and funnily enough, they were the representation I didn’t know I needed as a teenager. I’m so thankful they exist in this world the way that they do — boldly living their lives but always leading with love and respect.

Grace Pettis feat. Indigo Girls – “Landon”

Producing this album for Grace lives in an almost surreal, fantastical pocket of my memory. When I first heard the demo of this song, I was floored by her willingness to talk about formerly being in that place of judgment; she tells the story of a changed friendship, a forgiveness of self, and a reconciliation that we can all hope for. I had this audible vision of the Indigo Girls’ voices taking it to a new place, and wow, did they ever. I’ll never forget how wonderful an experience it was for me to comp their vocals and drop their magic into this transformative song.

Bill Withers – “Lovely Day”

I’m such a fan of Bill Withers. With a penchant for capturing positivity and heartache in a series of brief melodic nuggets, this one pops up as one of the songs I find playing on repeat in my subconscious, willing a lovely day into existence.

Kacey Musgraves – “High Horse”

Craving a common ground where no one’s on any kind of high horse, this one is a gift to me, expressing frustration with the holier-than-thous. I can’t tell you how to live your life, so…

Brennen Leigh – “Billy and Beau”

The fact that Brennen is of our generation is some kind of country music miracle. Extremely well-versed in the great landscape of country music, yet bold as anyone, here she and Melissa Carper give us the sweetest anthem — “the heart wants to go where the heart wants to go, and you can’t undo it.”

Tom Petty – “Listen to Her Heart”

What intentionally uplifting rock-n-roll moment is complete without Tom Petty? I really believe in listening to your instincts — that feeling you know can trust implicitly, which of course cannot be ignored. “She’s gonna listen to her heart” — you betcha.

Photo Credit: Shervin Lainez

Mixtape: Davis John Patton’s Playlist for Making Sense of Things

Posted on by Editor

I could be mistaken, but we all share a few deeply rooted questions about ourselves, right? Who am I? What am I doing here? Why is it that I exist, rather than not existing? Over the years, I’ve found myself drawn to songs that invite me to make sense of these things. These songs hold a tension as they intelligently consider life and death while also expressing the candid emotions of one living in this strange existence. Additionally, I’ve included a few songs that don’t explicitly consider existence, but they tell stories and ask questions that even still invite me to make sense of them, piecing the puzzle together verse by verse.

At the end of the day, is it not supremely important how we answer these deeply rooted questions about ourselves and others? I hope these songs help you ponder and make sense of things as they have for me. — Davis John Patton

Gregory Alan Isakov – “This Empty Northern Hemisphere”

The imagery of the first chorus captivates me: adorning a home with radio wires to hear voices from beyond. A glimpse of something past this emptiness.

Henry Jamison – “Boys”

This song, and the album it accompanies, confronts our cultural idea of masculinity, but even more just the general process of reconsidering our very identity and the sources that built it. “Spring is coming; let me be like the cherry tree, renewed and fruitful.”

Penny & Sparrow – “Double Heart”

Our existential ponderings can only remain external for so long; eventually we look inward. I honestly couldn’t tell you what most of this song means, but hearing the cry of “double heart” reminds me that incredible brokenness and evil isn’t only in the world, but also in me.

Josh Garrels – “Wash Me Clean”

The production and instrumentation of this song are so thoroughly beautiful that it took me multiple listens to have the headspace to even listen to the lyrics. This song is a deeply personal cry that we and the “earth groan in pain,” a common landing place in existential wonder. Is this the final destination?

Phoebe Bridgers – “Chinese Satellite”

I could write pages on this song; it holds some of the most authentic and heartbreaking lyrics on existence I’ve ever heard. Who hasn’t felt the absolute wickedness of the world and cried out alongside Bridgers that we must have been meant for somewhere better: “I want to go home.”

S. Carey – “Have You Stopped to Notice”

A song of rest amidst the hopelessness of other ponderings. Carey brings listeners back to the life before them, and comforts: “We all want the answers, but we only find a few. Look at all you have still in front of you.”

Alaskan Tapes – “We”

After quoting the lyrics of six consecutive songs, I now bring an instrumental piece. A song with space to think.

Henry Jamison – “Witness Trees”

If I was forced to pick a perfect song, I’d probably pick this one. There is much to make sense of in this song, but I particularly love the lyrical and musical beauty when Jamison sings, “I see a sign in the breeze, in the wind, in the trees, in the skies over Austin.”

Benjamin Francis Leftwich – “Elephant”

One of the most repetitive songs I’ve ever heard, but it works so powerfully. What is the elephant in the room for me? “I know you know, it is easier to shy away… but I know that you won’t go away.” It seems we can only ignore our deepest longings for so long.

Noah Gundersen / Phoebe Bridgers – “Atlantis”

This song is the Knives Out of mysterious songs… When you make it through the first listen, you immediately want to listen back for clues at what exactly is going on. Catchy, to be sure, along with ominous stories with glimmers of longing that conclude with the listener being set free… ? Much to make sense of.

Penny & Sparrow – A Kind of Hunger

A lesson in existential pondering: eventually you come face to face with the reality of death. What do you do with that? Penny & Sparrow offer two profound thoughts: “Breath, in the end, is a thing to be spent.” / “Dying’s just a kind of hunger.”

S. Carey – “Meadow Song”

The best songs in the world are the songs that conclude great albums, right? I think this song is reflecting on a lost loved one, but in the spirit of making sense of things, I have literally no idea if I’m right. Give this song a listen, Google the lyrics which are essentially a poem, and make some sense of it.

The Black Atlantic – “I Shall Cross This River”

Here’s where we conclude, on a somewhat hopeful note. The bitter realities of existence are faced, externally and internally. But if there is one great enough to “see not this bitter man… see not this failure,” then “when my darkness leaves, when my fall is complete, I shall cross this river.”

Photo Credit: Austin Goode

MIXTAPE: Blue Water Highway’s Space Ship in a Barn

Posted on by Editor

We are a four-piece Americana/indie rock and roll band from Austin, Texas, combining our love of singing and harmony (Catherine and Zack were both opera majors in college) with thoughtful songwriting, musicianship, and arranging (Greg and Kyle are multi-instrumentalists, also with college degrees in music). Being from Texas, we are rooted in its southern/western traditions, but love to musically and lyrically explore the contrasts in culture between rural and urban life, and the way that technology has affected both. This was one of the concepts — what we kept calling “building a space ship in a barn” — that was at the heart of our upcoming album, Paper Airplanes, produced by Cason Cooley, and it is the theme of our mixtape.

These “space ship in a barn” songs are a huge inspiration to us, often using acoustic instruments and natural vocals/harmonies mixed with analog synthesizers and electric guitars. Essentially mixing the organic sounds of the country with those of the urbanized, modern world. They also show a contrast between material things, and emotions that can sometimes best be expressed by otherworldly-type sounds. — Blue Water Highway

Bruce Springsteen – “I’m on Fire”

We find ourselves constantly referencing the Boss and his Born in the U.S.A. album, and this track specifically, as a great example of how classic rock and roll and rockabilly crossed with an analog CS-80 synth somehow works so well.

Sandra McCracken – “Reciprocate”

There is something about this track, and whole album really, that uses the roots vs. digital mix to maximum effect. The foundation is the fragility of the vocal and the acoustic guitar, but the “space” sounds peek through, like little slivers of light coming down through the dark clouds. Produced by Cason Cooley, this is one of the initial influences for our album.

The National – “Quiet Light”

The National’s 2019 release, I Am Easy to Find, has some of the best vibe in piano tones and “Quiet Light” is no exception. The soundscapes and drumming on this tune were just so innovative yet familiar.

Matthew Perryman Jones – “Waking the Dead”

The atmosphere kicks in right from the start and supports this upbeat rocker, which happens to be the only non-ballad on this record, is also produced by Cason Cooley, and admittedly is one of the few non-ballads that MPJ writes. The whole record is a rootsy trip through outer space.

Hozier – “Almost (Sweet Music)”

This song combines three things we love: good songwriting, good groove, and jazz. Hozier weaves titles from famous jazz songs throughout the lyrics of this song, and if you didn’t know the jazz songs he mentions you’d have no idea. Hozier is a great example of an artist who uses rootsy sounds with very modern, pop-oriented production techniques.

Phoebe Bridgers – “Motion Sickness”

Is it a country song or not? At least that is the argument we’ve been having in our band since the song came out. The soundscape is obviously a great example of vibey, modern, groovy, indie-rock production, and the lyrics have a very 21st century suburban-kid perspective. But still, there is something in the mood and the lyrics that doesn’t seem too far from Hank Williams… or Dolly Parton… anyone?

Elbow –”lippy kids”

Our producer introduced us to this band and this track, which is not only a perfect example of our theme sonically, but also lyrically. The refrain of “build a rocket boys” exactly conveys the sense of childhood wonder we wanted to evoke on our album.

Taylor Swift – “peace”

We’re big Taylor Swift fans in this band, always have been. Then she released folklore and evermore in 2020, which somehow fit perfectly with sounds of our album, even though we had already recorded it. Catherine never turned these albums off… ever. Taylor Swift is not given nearly enough credit as a songwriter and this is one of those perfectly produced tracks that makes her shine.

Blue Water Highway – “Grateful”

Definitely leaning more on the “barn,” or rootsy, side of things, this is our tongue-in-cheek take on thankfulness, and we still manage to put enough stardust sounds in the mix that it fits with the rest of the album.

Big Red Machine – “Hymnostic”

This song sounds like sunlight shining through the windows of an old white wooden church. Aaron Dessner (The National) and Justin Vernon (Bon Iver) combine to create the ultimate “spaceship in a barn” vibe. Big Red Machine, The National, and Bon Iver have all accompanied us many many times on late-night drives from state to state.

John Moreland – “When My Fever Breaks”

When an amazing songwriter gets a hold of a drum machine, this is the result. Great songs, and vibey drum production, complete with other synths make this album one to keep revisiting.

Brandon Flowers – “Between Me And You”

Brandon Flowers is one of the core artists we reference. Combining a indie synth rock aesthetic with heartland songwriting, he represents one of the many examples of bringing roots rock into a modern era.

Counting Crows – “Amy Hit The Atmosphere”

If this came out in 2021, it would probably be called Americana, but we love how these guys were a mainstream rock band with just the right balance between raw and polished. That’s never truer than on this song from This Desert Life, with the way the band uses atmospheric sounds to support the lyrics.

Maggie Rogers – “Overnight”

This song is a perfect example of how ambient electronic sounds that you can’t really put your finger on really round out and enhance a song that has organic vocals and drums.

Dawes – “Don’t Send Me Away”

One of the under appreciated elements of ’70s Americana will always be the impeccable groove of the rhythm section. Dawes carries this same torch, along with subtle but innovative guitar work, and brilliant songwriting, to become one of our bands favorite bands.

The War on Drugs – “Pain”

Adam Granduciel’s guitar work and songwriting harkens back to the way the ’80s musicians blended the rootsy style before them with modern instrumentation. The War on Drugs unashamed use of drum machine sounds and reverb rich guitar tone creates a cool and nostalgic sonic landscape.

Blue Water Highway – “All Will Be Well”

This is a song about the true meaning of hope, and it uses the synth/acoustic dichotomy as a way to contrast the spiritual with the material, how those realities both rub up against each other and work together. At times it feels like a rickety old space ship, and is one of our favorite examples of this sound in our original music.

Blue Water Highway – “Sign Language”

This is our original song about finding communication, calm, and understanding in the midst of chaos and confusion. The soundscape has many “space ship” elements that evoke communication, i.e. synthesizer and drum machine, which are contrasted with the organic sounds of the harmony vocals, guitar, and drum set.

Photo credit: Cal & Aly

MIXTAPE: Penny & Sparrow’s Songs Begging to Be Covered

Posted on by Editor

From Joe Cocker covering The Beatles, Bon Iver covering Bonnie Raitt, Glen Hansard covering The Pixies, and many, many more, WE LOVE COVER SONGS. In fact, one of the most commonly had tour van conversations is “What should we cover next?” (And we deliberate that almost daily.) The art of taking someone else’s song and making it your own is difficult and praise-worthy. … THUS, when The Bluegrass Situation asked us to cultivate a playlist, we knew exactly where to go. So here it is, dear friend!! A list of songs — in our opinion — that are begging to be covered.” — Andy Baxter and Kyle Jahnke, Penny and Sparrow

Eagles – “New Kid in Town”

Like a lot of Eagles tunes, “New Kid in Town” manages to have emotional depth WITH a hook that’s catchy as hell. Not a lot of folks can do that. They did it over and over again. It reminds me of “Fun Times in Babylon” and for that reason I must have Father John Misty cover this as soon as possible. Please make that happen for me, FJM. You would sound delightful. (Andy)

Willie Nelson – “Buddy”

This song was on Parks and Recreation and it made the reconciliation of Leslie and Ron one of the most iconic scenes in TV history. For the month after, I listened to it over and over and over again. After 30 days of it I started to imagine who I wanted to hear cover it. I landed on one of two extremely recognizable (and lovely) voices: Ashley Monroe or Anaïs Mitchell. Please Universe, hear my cry. (Andy)

John Denver – “Sunshine on My Shoulders”

I would love to hear this covered by someone like Daniel Caesar. The melody with some R&B voicing would sound insane. (Kyle)

Miya Folick – “Thingamajig”

This song is admittedly new for me and (before it came along) it had been more than a year since a song made me cry on first listen. This one undid me. Eight straight listens and now I might die unless I hear I’M WITH HER cover this damn song in three-part harmony. (Andy)

Ace of Base – “Don’t Turn Around”

I love a good ‘80s/’90s jam saddened by some sad indie folk. Thinking if James Vincent McMorrow took this and pitched it to his gorgeous falsetto I would listen on every rainy morning and cry just a little. Maybe give it to Jason Isbell and let him turn it into an Americana masterpiece. (Kyle)

Alvvays – “Archie, Marry Me”

A friend of ours called this song a “We’ll be young forever” anthem. It toes some strange line between the grunge pop of “Cherry Bomb” and the new age sad rock of Phoebe Bridgers. I love it and really really wanna hear a slickly crooned version by Sam Smith. Take all my money Sam, just get it done. (Andy)

George Strait – “Lovesick Blues”

I love the yodeling in this one. Basically I want Miley Cyrus to imitate Dolly Parton imitating a ‘90s George Strait. I love this track. (Kyle)

Slim Whitman – “Rose Marie”

This one feels unfairly unknown. How this song got lost in the shuffle of history is beyond us but I damn sure wanna hear The Kernal or Robert Ellis do a version! (Andy)

All-4-One – “So Much in Love”

This could either be an Ariana Grande acapella jam, or in my wildest dreams a Simon & Garfunkel reunion where they folk harmonize it to perfection and the world is happy since they are friends again and that’s all I really want. (Kyle)

Anaïs Mitchell – “He Did”

Lyrically this song is masterful and angst ridden and haunting. As I think about it now, it would be an incredibly tall order to cover this monster, but I genuinely think a blues/soul rendition could be badass. The lyrics of the song mourn and bleed and I kinda wanna hear Cedric Burnside or Leon Bridges take it on. (Andy)

Cutting Crew – “(I Just) Died In Your Arms”

GIVE ME HAIM SINGING THIS SONG AND IT WILL BE THE RESURRECTION OF AN ‘80S POP RELIC!!!! It would also stream millions of times in a matter of days. It’s a jam and they’re the maestros I wanna hear introduce it to the next generation. (Andy)

Photo credit: Noah Tidmore

Conor Oberst, Phoebe Bridgers Unveil Better Oblivion Community Center

Posted on by Editor

Right around the time the clocks switched over from 2018 to 2019, a mysterious ad appeared on a bus bench in Los Angeles, near the intersection of Sunset and Alvarado. It promoted something called the Better Oblivion Community Center, which offers “assisted self-care” and “free human empathy screening,” among other vaguely New Agey services. A telephone number led callers to a voice mail for this strange clinic, and the website included no explanatory text beyond a registration form for a free brochure. It sounds like one of those odd storefronts you’d see in a Los Angeles strip mall offering a hodgepodge of healing techniques and questionable diet regimens—the kind of place Oh No Ross & Carrie might devote an episode or two to exploring and debunking.

It turns out, however, that the Better Oblivion Community Center is not, in fact, a clinic or a church, but a band consisting of two ace singer-songwriters: Conor Oberst, the guy behind Bright Eyes and Desaparecidos, and Phoebe Bridgers, a solo artist who made her debut with 2017’s Stranger in the Alps and more recently was one-third of the indie-rock supergroup Boygenius. The bus ad was, in a roundabout way, an announcement for the duo’s self-titled debut, which they are surprise-releasing this week, following a performance on The Late Show With Stephen Colbert.

“Those words sound nice together, and it rolls off the tongue, even though it’s long,” says Oberst of the duo’s moniker. “More than that, at this moment in time everyone is feeling a little impending doom, like oblivion is just around the corner. But the idea of the community center means that you’re not alone in it. We’re all going through this moment in time together, so maybe it’s not all doom and gloom in there. Maybe there’s some hopefulness in that community concept.”

That’s a lot of weight to pin on an album, but Bridgers and Oberst explore that hope and dread on these songs, from the self-questioning “Didn’t Know What I Was in For” to the self-annihilating “Dylan Thomas.” The music is jittery-nerved folk-rock, full of jangly guitars and jumpy choruses, reflecting the musical personalities of these two musicians: the measured drama of Bridgers’ vocals clashing with the precision of Oberst’s lyrics.

The two met several years ago at a show in Los Angeles. After hearing her play a short set, Oberst asked Bridgers to send him any music she had. They played more shows together, toured together, and even duetted on Stranger in the Alps. After recording their first album as the Better Oblivion Community Center, they decided to keep it under their hats to preserve a bit of the mystery and to buy a bus bench rather than a billboard. “There are no rules anymore,” says Oberst. “This was an experiment. We wanted people to hear the album all at once and take it for what it is. That seemed a lot more fun that the textbook album release cycle.”

Was there a moment when you realized you could do something larger together?

Phoebe Bridgers: We didn’t think about it that hard. I run stuff by my friends, and I write with a lot of my friends. That’s something I really enjoy doing. So I was showing Conor some of my songs, and he was showing me some of his songs. The album just emerged out of that. I don’t think we ever talked about what style it would be. There was one time after one of our shows in Europe when Conor was like, “We should start a band!” But we never talked about it again. So by the time we started writing songs, that wasn’t even really a goal we had in mind. It just naturally became something more.

Conor Oberst: The first song we wrote is the first song on the record, which is “Didn’t Know What I Was in For.” We wrote it not knowing if it was going to be for my record or her record or someone else’s record. But we realized pretty quickly that it was meant to be its own thing. It snowballed from there.

What was that process like? Was it different from other collaborations you’ve done?

CO: We wrote all of them together with guitars. One of us would have a starting point, a little melody or a line or two of lyrics. Then it’s just bouncing ideas off each other. It was fun for me, because I’ve written songs with different people over the years, but I’ve never done a full record with only one other songwriter, where I was writing everything with one other person. It was an educational experience, because Phoebe has a lot of strengths that I don’t have. She’s a much better singer, and has a much better concept of harmony and melody than I do. I would have some half-baked idea and say to her, “Can you make this better?” Or, “Can you make it sound like a complete thought?” And she would come up with some amazing idea that I would never have on my own.

PB: I actually feel similarly with lyrics. I would be on a rant about something and say, “I want this verse to be about insert theme here.” And Conor would just do it. I would have some idea or be talking about something for a long time, and the next time we’d sit down to write, he would have a cool lyric idea. It was nice to play to each other’s strengths, especially since we’re very different in our processes.

How do you mean?

PB: It takes me forever to finish a song, but it takes Conor a day. I don’t think it’s a bad thing to take forever, but I’m a little too much of a perfectionist. I write from top to bottom, but Conor pushed me not to avoid anything—just write whatever and come back to it later. Don’t get stuck for weeks at a time on something. But I tried to stretch out Conor’s writing time as well. What if we add another verse? Or, what if it was longer or we added a coda? In our differences we found a lot of fun stuff to do.

CO: I definitely tend to do something and just move on. Phoebe was like, “Let’s go back and think about that a little harder. Maybe we can make it better.” And usually we did. That was a great added layer of just… trying harder.

PB: Weirdly, “Dylan Thomas” was the last song we wrote for the album. I had spent fucking fourteen hours in the studio with my band Boygenius, and Conor and I were hanging out getting ready to record. We didn’t even have a plan to put another song on there, but we had some extra time. Conor was like, “You have any more ideas?” I had this weird voice memo that was just a verse and a chorus melody. We ended up writing that song in one day, which is super rare for me.

You mentioned “Didn’t Know What I Was in For” as the first song you wrote together. That really sets up this album and introduces some knotty, compelling themes.

CO: The idea is that we all want to do things to help make the world a better place, but a lot of the time it can feel futile—like slacktivism or whatever. “Oh, I’ll do a 5K run and cure cancer today.” I can do these little gestures in my life to bring about a better world, but maybe it doesn’t do anything. I think those feeling are competing inside all of us. Everyone who has a conscience struggles with that. Am I doing enough? Do these actions have any value? The alternative, though, is to do nothing. And if everybody does nothing, then nothing gets better. So maybe it’s better to do these little gestures, even if they don’t feel like they’re ever enough.

PB: I always think about what my friend [and Boygenius bandmate] Julien Baker was telling me, about how she feels this weight of responsibility on social media. She feels this great duty every time she speaks to her fans for it to mean something, for it to matter. Why would you post all this bullshit about playing a festival when there are starving children and LGBTQ teenagers who don’t have home? She’ll talk about spending a half-hour drafting a tweet about something important, then she’ll scroll down and see some really crass, stupid joke that I posted. I think about that a lot. It feels like when you open that box of human empathy, it’s hard to shut. There’s a real burden of responsibility that every human being with a heart should feel, even if you’re doing something that feels so futile.

Does that apply to songwriting? Is writing a song enough?

CO: That’s a struggle that a lot of my friends and a lot of songwriters I know deal with. Phoebe and I were talking about it the other day while listening to the radio. Wow, most songs are about nothing at all. When you hear the lyrics, it’s either so abstract or insider baseball as far as what the writer is trying to say. It starts to evaporate and not mean anything.

PB: I hear the same songwriting tropes in so many songs. If I have to hear one more white guy sing about riding a train…

CO: Hey, careful there!

PB: If I have to hear one more guy talk about ruminations! [Ruminations is the title of Oberst’s recent album.] Trains and whiskey and turpentine. All the shit that doesn’t resonate with anyone anymore—I hear that in so many songs. There’s a fear of writing about nothing, but there’s also a fear of sounding self-important. It’s a never-ending struggle.

CO: I’m hyperaware of sounding too preachy. That’s always the trick—to present ideas in a song but not do it too on the nose or in a way that sounds too heavy-handed.

That seems to be one of the overarching ideas you’re exploring on these songs—trying to feel comfortable in your own skin, in the world, in your craft.

CO: That’s something that art and more specifically music can in their best form provide, that feeling of not feeling so alone. We’re all going through this at this particular moment in time, globally and politically. It can feel terrifying and overwhelming. Lately I find myself going back to records I like, books and movies I like, stuff that provides some context on the human condition, so I don’t feel as adrift and as alone in the world. I don’t know if our music can do that for other people, but that would be a wonderful thing.

PB: We didn’t set out to have a super-political theme on this record by any means. We barely even talked about it, but I think scenes emerge in songs that reflect what you feel or what you’re thinking about. A subtext emerges over time that maybe you didn’t even intend. I think I relate to my songs the more space I get from them, for that reason. I feel more comfortable with songs I wrote two years ago. I was nervous singing about some of that stuff then. I think the same thing will happen with these songs and I’ll figure out more and more what the fuck we’re talking about.

It doesn’t necessarily feel like a political album. It sounds more like it’s coming from a fixed perspective, two people taking in the world at a particular moment in time.

CO: I think you’re always writing from wherever you’re at in your life. We wrote all these songs in the span of a year, so it’s a snapshot of us at that time. Life goes on and things change, but that’s one thing that’s so cool about making a record: It’s a little document of a moment that you get to keep forever. And even if it isn’t as specific as a diary entry, it does encapsulate where you are in your life, where you’re writing from.

Photo credit: Nik Freitas

Gig Bag: The Jellyman’s Daughter

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Graham Coe and Emily Kelley, better known as The Jellyman’s Daughter, hail from the foothills of Edinburgh, Scotland, but they’re traversing the United States this fall with a new record, Dead Reckoning. With a little peek inside their Gig Bag, we get the scoop on what they’re bringing along.

Chess Board

Our tours always involve a running chess competition between the two of us, staged in the various hipster cafes we visit along the way. One of us is better at peacefully accepting defeat than the other. So, future audiences – if you notice Emily making a suspiciously numerous amount of cutting remarks towards Graham, now you’ll know why.

Ear Trumpet Labs mic

We like to perform using our ‘Myrtle’ condenser mic when we can – it’s a delight to combine our voices in the air before sending them out through the speakers. Sometimes it’s not a delight for Emily when Graham’s cello bow flies unnervingly close to Emily’s face. But we’re working on that. It’s also great to be able to put up the mic in front of our camera in a unique location and record a little video – a tour is a wonderful way to find these epic little spots.

Tea

One of the perks of living in the UK is having easy access to proper tea. Some countries seem far more interested in having plentiful supply of what amounts to hot watery juice. On the other hand we also bring plentiful supplies of Yogi Tea’s Throat Comfort which is a wonderful concoction, even if 80 percent of its effectiveness for your throat is because it’s called Throat Comfort.

Sat Nav

Our trusty sat nav has in its time taken us from the Northwest of Scotland to the Southeast of England, across Europe from Denmark down to Vienna and across the USA and Canada. We’ve often found ourselves completely devoid of phone internet signal and bearings, feeling extremely thankful that smartphones haven’t completely replaced sat navs quite yet.

Tunes

An extremely important part of any tour is a load of great new and old music. On the longer journeys taking in a full album is the preferred medium. Here’s a few notable albums we’ve been enjoying recently:

Punch Brothers – All Ashore
Phoebe Bridgers – Stranger in the Alps
Theo Katzman – Heartbreak Hits
Frightened Rabbit – The Midnight Organ Fight
Joni Mitchell – Hejira

Rearview mirror buddy

Sometimes on tour as a duo it’s not logistically feasible to bring a third, calming, mediating member along. So our solution is to bring a delightful little fabric friend that hangs from the mirror and commands an unassuming Zen-like presence in the car.

Photo credit: Graeme MacDonald

 

Palpable Joy: Newport Folk Fest 2018 in Photographs

Posted on by Justin Hiltner

It seemed that this year’s unanimous refrain from Newport Folk Festival, from veteran attendees and newcomers alike, was a resounding, “I THINK I LOVE THIS FESTIVAL.” We think we do too. Based on these gorgeous images from NFF, we’d say each and every human being on site — on stage, in the crowd, or rocking on the waves — loves it, too. And that overwhelming love translates into palpable joy, from Mavis Staples’ first smile to Brandi Carlile’s final headbang, and in every strum, lick, and beat in between. 

 

Photos by Daniel Jackson