Artist:Jon Byrd (Feat. Paul Niehaus) Hometown: Nashville, Tennessee Song: “I’ll Be Her Only One” Album:Me and Paul Release Date: July 16, 2021
In Their Words: “Me and Paul is dedicated to and a reflection of the people that came to see me and Paul over the years in little watering holes and honky-tonks here in Music City. They are small but mighty, as Billy Block used to say. It’s also dedicated to venues that let us take over their ‘happy hour’ to play the saddest, darkest, most pitiful and tragic songs ever penned. This co-write with Kevin Gordon put me in mind of his longtime music collaborator Joe McMahan. While known mostly as a guitarist/sideman, he’s had a studio for years and produced great work with Kevin and many others. He and Kevin are more on the rockin’ side of things but I was very keen to know what he’d bring to a project like this, so stripped down. And so country. But the Kevin connection is what sent me down this road.” — Jon Byrd
Country fans already knew that “Tin Man” is a powerful song; it earned the Academy of Country Music’s Song of the Year award in 2017. In this new live video, Miranda Lambert reminds us how moving a simple performance can be. The solo acoustic version of “Tin Man” comes from a new album and film that Lambert and fellow songwriters (and proud Texas natives) Jack Ingram and Jon Randall have crafted. Titled The Marfa Tapes, the album features the recordings that are shown in The Marfa Tapes Film. Watch the trailer.
In November 2020, the three accomplished songwriters gathered in the desert of Marfa, Texas, as they have done together for years, and captured some incredibly beautiful, raw material over a five-day stretch. Some songs on the new record are familiar, but most of the music is new, only heard in Marfa until now. The trio took pains to not overdo the music; all of the tracks were captured in the Texas wilderness with only a couple of microphones.
On a Facebook Live video, Lambert explained, “The idea for the Marfa film came about because we wanted to do this organic record, where we go into the desert of Marfa, Texas, and record these songs we’ve written over the last six years. Jack Ingram, Jon Randall, and myself sort of found this little haven in Marfa in 2015 and have gone back several times over the years to write songs. We just thought, ‘Why don’t we put these out for the fans just how they are in their raw state?’ To go along with the sound of the cows and the wind, and everything that that tumbleweed country has to offer. We wanted to show the vastness and the beauty of something that we’re so proud of, that’s part of our state.”
Over the past few years, country crooner John Anderson’s inimitable voice escaped him after suffering health issues and brushes with death. Through the creation of his new album, Years, he found it again.
In the album’s opening song, he opines, “There were people placing bets that I’d be dead and gone/But I’m still hanging on.” Although he does not disclose details, he does concede that the illness affected his hearing and, in his words, “I had nearly died a couple of times.” Listening through the album produced by Dan Auerbach and David Ferguson, it is clear that now Anderson is doing more than just hanging on; he’s creatively thriving. He tells BGS what it was like getting back in the studio, how he’s spending his time amidst the pandemic, and his feelings about making music these days.
BGS: Tell me a little bit about how Dan Auerbach came into your life.
Anderson: Actually we were introduced through a mutual friend by the name of Jeremy Tepper. He does a lot of work for Sirius/XM Radio. We’ve been friends a long time and he called me one morning and said, “I was with this guy the other day and we were talking about you and I would really like you to get together.” I said, “Well sure, I’m really not doing much these days.”
He asked if he could give Dan my number and I said, “By all means, give it to him!” The next day or so I got a call from Dan and we ended up setting up a meeting to get together and talk. Originally mainly just to talk about writing some songs together. At the time he was busy producing some other acts. I thought they might need some material and I thought I might help them write some.
What was your writing process like for this record? I’ve read you had some surprise co-creators on this one. What was that like?
We did. It was great. Looking back, I have to thank Dan and Dave Ferguson (aka Fergie). They were both involved in setting up the writing appointments. As it turned out, I got to write not only with some heroes, but some great old friends. It was really a joy. Writing these songs was a real pleasure for me. And it was at a time when I really needed to do some writing and get some music out of me. I’d been sick for a couple of years and hadn’t been able to do much writing or performing. At this point, I was recovering and really wanting to get back into my music.
This was all really good for me as far as writing the songs. We wrote for a couple of days, then the recording part came up. I remember saying, “Boys, I don’t know. That’d be great, but I’m really not sure I can do it.” I think it was Fergie who said, “We think you can.” I looked at him real serious and said, “Really?” And they both nodded. There wasn’t a lot said. It was a pretty solemn time there. I remember saying, “Well, if I do it, I’m going to treat it like it is the last one I’ll ever do.” Just because I was in that frame of mind at the time, mostly due to physical health reasons.
What was the moment like when you stepped up to the mic for the first time?
For me, singing is really something I’ve, thank the Lord, never really had to think about it, when it is time to step up to the mic. I do spend a lot of time thinking about singing, mind you. Most of my life I’ve walked around humming a tune. And maybe humming it a different little way. But when it is time to go into the studio or when I step up to the mic, I’m kind of on autopilot. I’m mainly trying to deliver the song, whatever the song is.
That certainly comes across in your singing.
Well, thank you. I want it to be real, in every kind of way. I’ve been a real stickler for that through my career. Sometimes you pay a price for that and sometimes it doesn’t turn out as good as you thought. On the other hand, when it is all over you can be proud of doing your own thing.
When you had those songs together, what was the recording process like? Did you cut them all at once or piecemeal?
We went in like three or four days one week and then we took a little break. I don’t even think we took a week break. We cut Monday through Thursday it seems and then took the weekend off and showed back up Monday. We had about 20 songs to choose from that we’d written over the previous months. I’ll always recall that as a really good time in my life. It really helped me to heal up. Even to the point today, I almost forget I was ever sick.
That’s so great.
It’s a blessing, is was it is. It took a lot of praying to get it. And now I am, and have been, well enough long enough that now the music is back on autopilot. I just do it all the time.
There’s a heaviness on this record as it deals so pointedly with mortality. On the flip side, it explores the simple pleasures in life and these elements really balance the record. Can you tell us some of the simple pleasures you are finding in life in these strange times?
I kind of found them a bit earlier through the songs and doing this record in a time when yeah, I had nearly died a couple of times. So, mortality is certainly in some of these songs, as far as my influence on them. Now there again, I can’t take the credit for any single song on the record because we had a lot of great help writing them. But my influence is a lot about mortality and the part in the songs about being thankful. That was kind of where I was at the time.
And you know what? As far as the situation right now and playing shows. … That’s been probably the biggest part of my life ever outside of my family has been going and playing the music to the fans. That’s pretty much all I have dealt with for the last fifteen years. As I’ve not been actively in the recording business, my live shows are what mean the most to me. It is a little bit difficult not knowing if or when or how we’ll be playing again to crowds. That’s been on my mind.
On the other hand, I feel very blessed to still feel healthy and have a great outlook. I’m still trying to write and sing most every day and doing a lot of gardening work and doing a lot of fishing. Fishing and gardening is what I’ve been doing and trying to play with my grandchildren. You have to save up energy to go do that.
How did the collaboration with Blake Shelton come about?
Blake is an old friend. I was a fan of Blake’s when I first heard him and then come to find out, he’s told people I was one of his biggest inspirations. At the time, when we were recording this record, low and behold we got a call from Blake’s people asking if we’d be interested in going on tour with him. For me, I did have to cancel tours previously on account of my hearing was nearly gone at the time. I didn’t have a working band. I hadn’t been on the road in a while.
I told them I didn’t have all that together and they said it was just for a few songs a night and his band will back you up. I said, “Really? That’d be a real treat. That’s like chocolate cake.” So it did work out and about the time the tour worked out we were finishing some of the tracks on this record and I said, “I’d love it if Blake could come in and sing with me on this.” We asked him and he was very gracious and did. Not only that, he invited me on the tour the next year also. Blake Shelton is a true hero of mine at this point. The tour was called Heroes and Friends and he’ll always be one of my heroes.
Do you ever revisit your old records? With all you’ve been through, do you view those songs in a different light?
Oh, I do. And I have been lately. That’s part of what I’ve been doing in this solitary time. What’s really been going through my mind lately are some of the songs that I thought were just as good as anything that I had ever written but really nobody got to hear them. Maybe I have twenty of them. I’ve been thinking about going in. It’s strange that you’d mention old stuff, and I’m talking about even from the time I was a teenager. Just things that I might go in and work on. Mainly just to pull it together and have that piece of work together, those songs. I’m thinking about that lately.
As you’ll hear, Jesse Daniel and Jaime Wyatt have lived the life, paid the price and processed their pain and redemption in song. Both are products of the West Coast and both have dug deep into their own stories. Many are sizing up Daniel’s ‘Rollin’ On’ and Wyatt’s ‘Neon Cross’ (produced by Shooter Jennings) as among the cream of 2020. These are candid, complimentary conversations.
I’ve had the good fortune of knowing Kentuckian country queen-in-waiting Kelsey Waldon for almost the entire time I’ve lived in Nashville — more than eight years at the time of this writing. I’ve stood over her unfathomably enormous cast iron skillet, filled to the brim with bubbling, sizzling battered fish. I’ve sung harmony on one too many choruses of “Smoky Mountain Memories” after perhaps one too many slugs of Kentucky straight bourbon whiskey with her, too.
And yet, in listening to her brand new album, White Noise/White Lines, I still found myself picking up fresh tidbits of her extraordinary yet downright ordinary approach to musicmaking, songwriting, self-expression, and artistic exploration. Waldon, despite limitless comparisons to almost every female country forebear to ever growl through a lyric, remains a paragon unto herself, a true singularity in realms of American roots music.
White Noise/White Lines cements the fact (which has always been plain as day to those who dug deep enough) that Waldon will refuse tidy, one-for-one comparisons to any/all other country stars and writers who have come before her or who count themselves among her contemporaries. Except perhaps two: Loretta Lynn — whose “Coal Miner’s Daughter” inspired Waldon’s own “Kentucky, 1988” — and John Prine. The latter is fitting, in so many ways, now that Waldon makes her label home with Oh Boy Records, label of the denizen of Kentucky songs, meat and threes, and plain spoken oracle-like wisdom through lyrics.
A brief album by many measures, White Noise/White Lines captures technicolor moments of Waldon’s life, her joys, her musings, and her homeplace, encouraging listeners to lean into the record’s brevity and engage wholly with each constituent moment therein. Because truth needs no more than a moment.
For BGS I made the trek out to Waldon’s cabin outside of Nashville and after a quick stroll around the vegetable gardens and a tour of the many Kentucky-themed decor items imported from one state north, we settled in the kitchen, sipping water out of mason jars, to talk.
People routinely refer to you as being similar to Loretta, similar to Tammy Wynette, Kitty Wells, Patsy Cline. People are constantly making these comparisons to these kind of foremothers of country and I wonder how that makes you feel, to be a bookend against someone like Loretta or Tammy Wynette?
Kelsey Waldon: Honestly, I think that’s an incredible compliment. Those are all, you know, my sisters that have gone before me, women that I’ve looked up to quite a bit. Especially in the country music realm. However, I also kind of feel like, especially with this new record, I think it’s apparent that hopefully I’m also finding quite a bit of my own thing.
Sometimes when people say things like that to me it’s like, well maybe their scope of country music isn’t that wide. When someone would be like, “You sound like Patsy Cline!” I’d be like, “Uh, no I don’t.” [Laughs] I mean, I love Patsy Cline and I hold her up as something sacred, I wouldn’t ever even sing Patsy just because nothing touches that.
I think it can kind of be, dare I say, a lazy comparison to just kind of name [some popular woman country star.] It’s definitely there. Even sonically, I was so inspired by them. Especially Loretta, absolutely.
I hope the new record showcases that with the years we’ve spent on the road — just using even my own touring band. It starts at country with me, I can’t just flip off a light switch and say, “Oh, it’s not country!” I guess some people can do that, but I don’t see it that way. Country is just so much embedded in me. No matter what form my artistic expression comes out, that’s still gonna be there. It just may not be cookie cutter, it may not be formulated. It may not even sound exactly like that. One thing that I think the growth of this record shows, hopefully, is that these are my songs, I’m not a throwback artist. I’m not a retro artist. I am an artist making music in 2019.
I did want to talk about your band, I think it’s remarkable. It’s getting more and more rare that folks tour with the folks who played on the record, because — and it’s not the fault of anybody — they’re trying to make money on the road. So if they stack their record, of course they aren’t bringing those people on tour. Why is it a priority for you to have the same band?
There are obviously all of these amazing musicians out there who are session musicians and a lot of people I’ve been fortunate enough to play with myself. I’ve learned a lot from [them]. This time around, this was always a goal of mine, to have a record that had a band I wanted on it. I worked really hard to find the band to really fit those pieces together. It took me a while… just trying to figure out really what I wanted. My last record, I’ve Got A Way, caused the right people to gravitate towards my music. I mean, I eventually found the band that I have now because they heard those earlier records and they were like, “I would love to be a part of this.”
The band I have now, which is Mike Khalil, Nate Felty, and Alec Newnam — and Brett Resnick played on the record, but he doesn’t get to play with us a lot anymore, he plays with Kacey Musgraves, which is wonderful. But with the band I have now I just knew it. I was like, “I think this is it.” We all knew it. Even Brett. People were like, “We think this is the right combination.”
In that way, too, there’s nothing wrong at all with using session players, I just think, honestly — and I might be a little biased — my band is just as good as any. I think they could, and they will be one day, they will be those session players. They care so much about their craft and they work hard. I’m very lucky.
One of the things that excites me most about this record is that I’ve always heard the bluegrass influences in your music, but they’re really forward in this record. Especially in your rhythm playing, in your rhetorical style in your writing, in your vocal phrasing, even in the arrangements with the twin fiddles and there are a couple of “fast waltzes” on the record. I love that “Lived and Let Go” really could be played on bluegrass radio.
I think that is such a huge compliment, thank you.
It’s bluegrass! I wanted to ask, and not just because we’re The Bluegrass Situation, but in general, because this is a huge part of the canon of music you reference and that you listen to. Who in the bluegrass sphere influences you now and who has in the past — and I’m gathering Ola Belle Reed is at least one of them.
I love Ola Belle, obviously, we did an Ola Belle song on the record. Well, I love that you can pick that out. To me, I feel like it’s plain as day that there’s a bluegrass influence all over it. To some people it’s not as apparent, I guess. I’ve had some people just be like, “What is this thing that you’re doing?” It’s because they don’t listen to bluegrass. I’m like, “I STOLE that!” [Laughs]
I guess I understand now why they don’t put those two together, if you’re talking about mainstream country, because that’s clearly not. But to me, I’m always like, “Of course bluegrass is country.” It’s also bluegrass, but it’s also country. It’s like the OG country music.
I would say one of my favorite influences, one of my favorite singers ever, is Dale Ann Bradley. She’s up there for me. I really think Dale Ann should be a legend, honestly. And Ralph Stanley, and obviously I love Bill [Monroe], and Jim & Jesse, and all those groups. And early Keith Whitley, I’ve been obsessed with that for a long time.
I think it’s interesting that you mention both Ralph and Keith back to back like that, because you can hear elements of both of their vocal phrasing and vocal techniques, in what you do singing-wise.
The same thing with Dale Ann. They have such unique registers of their voices and it’s something that I really relate to. Sometimes I didn’t really know what it was that I was doing. I could kind of hear my own voice in [their vocals]. If that makes sense? I could really relate to that. It’s so soulful.
I feel like Keith could sing on anything. [Laughs]He sounded exactly like Keith. That’s the beautiful thing about a country singer to me, he could sing on an R&B track and it would be sexy as hell. It’s like George Jones — and Dolly can sing on anything, as far as I’m concerned. That’s a great singer, to me. Ralph, I’ve always said that he is like the Pop Staples of mountain music. It’s like he doesn’t even have to be loud, but he is so loud. He’s barely singing. He’s just projecting. I love Flatt & Scruggs as well.
New artists… Molly Tuttle, I love what she’s doing. That new record. She’s really taking a genre and making it her own. Something that’s not worn out or tired. Doing something fresh. She has accomplished making this new for people. In my own way, I hope to do that as well.
I don’t guess there’s anybody else completely new, besides like Sister Sadie, and Dale Ann! [Laughs] They are some BAD girls!! Dale Ann, man. The mark of a true artist is that she can sing all of the covers she does. Like I said, I think Dale Ann should be a legend.
Words are clearly your priority in your songwriting. You’re prioritizing what you’re meaning to say first and foremost, then making the melody and music and everything work around what you’re trying to say. It sounds effortless when you listen to it, but I wonder what kind of intention goes into that?
Songwriting is kind of interesting to me in that way. I’ve actually heard a couple people be like, “It sounds effortless.” Sometimes, it is effortless and you’re just like, “Wow that kind of poured out of me. I didn’t realize it was in there but it poured out of me in like five to ten minutes.” With this record, though, there were definitely a couple of things I had to go back to. I had the meat and taters, but there were a couple of things I rewrote and made sure made exactly the sense I wanted them to make. There’s a balance there, too. You don’t want to kind of go too far, over-analyzing the whole thing.
With “Kentucky, 1988,” I think your songwriting up to this point has felt so personal, and so tightly intertwined with who you are, that I almost didn’t realize that you hadn’t written this exact kind of song, yet. What brought you to the point of wanting to be that direct with telling your origin story? Was it more intuitive or more purposeful?
That was definitely purposeful. That is awesome that you’ve observed that, because I’ve felt the exact same way. I was writing new songs and I felt like, “You know, I haven’t written my ‘Coal Miner’s Daughter.’” I don’t really have something that is kind of like this definitive origin story. I just set out to write it. The title was actually kind of inspired by someone I forgot to mention, Larry Sparks — one of my favorite singers.
Oh my gosh!! “Tennessee, 1949!!”
Yeah! Yeah, it was inspired by that. That and a Tom T. Hall song that has Kentucky and a year in the title, with the comma and everything. In my head all of that sounded so cool. Everything about it, the rhythmic feel, it all rolled right off my tongue great. I just had to write it. People always [say], “That’s very vulnerable and transparent.” Well yeah, isn’t that what we’re supposed to do? [Laughs]
I know a lot of artists say this, but I definitely think this is the most personal thing I’ve done so far. I think all of it has been very transparent, in a way. I want to completely embrace that. I want to be as much of a freak as I want to be. It’s not like I was afraid to before, I just don’t think that I was ready. My mom always said I was a late bloomer, but she said, “When you bloom, baby, you’ll bloom!”
I did want to ask you about the significance of the Chickasaw Nation members singing on the record. We hear them at the end of “White Noise, White Lines.” What’s the personal significance of that for you? And are you a tribal member? Is anybody in your family a tribal member?
No. All of the Rollins side of my family, which is my granny’s side, they were all of French and Native American descent, but I never claimed anything like that. I just think it’s been something that’s been such a part of where I grew up, culturally. Even just hunting for points [arrowheads] and having such a respect for that way of life and culture.
It’s always really hard to keep this story short, when people ask me about the song, because I wrote it right after this amazing experience I had back home in Monkey’s Eyebrow, Kentucky, my hometown. When I went back to watch a ceremonial dance that the Chickasaw from Ada, Oklahoma [performed]. They came to re-bless the Wickliffe Mounds. They ended up lodging at my Dad’s that night, for free, [he was] cooking the food, doing the catering and stuff. I ended up staying down there and visiting.
We just became friends with the members of the tribe. We had so much fun. They’ve kept in touch… My dad took them arrowhead hunting for the first time, and they were doing ceremonial dances out on my dad’s land as well. I think he really really was appreciative of that. We were kind of the only people who ever lived down there in those river bottoms, maybe besides [the Chickasaw]. I mean, it’s the river bottoms. That’s why we find all these artifacts. No one has been down there except us.
I just remember thinking about how awesome the weekend had been and the radio had been on white noise for literally fifteen minutes and I had no idea. I was just in this tranquil moment. The song is just a detail of all these things. The solar eclipse had also blown my mind that weekend. Just realizing how small we actually are, compared to what is even going on in this universe.
Naturally, I included the details. “Chickasaw man got a buffalo skin drum,” because Ace — Ace Greenwood and Jesse Lindsey, that’s who’s on the song — actually did have a buffalo skin drum. It was pretty badass. My dad asked them to sing some songs on the porch. I love Ace’s voice, it reminds me of Ralph Stanley. It’s a voice that just feels like it’s been there for a long time. It’s so pure. I just loved it, I was really touched.
He sang a song that had been in his family for generations. The message of the song was basically, “Though I’m far away I’m still near you. No matter where I am. We are together.” In that moment that really was something I needed to hear. I put that [on the record] not only because I thought it was beautiful, and I wanted people to experience what I felt, but I also wanted the record to feel like an experience.
Ace told me one time when we were down there that the media likes to tell his people who they are and that’s not who they are. I think in a way, perhaps it’s also why I thought it would be really beautiful to have that at the end as well. I hope it doesn’t seem like it was for my own reasons, I guess. I was just writing about that weekend and I felt like it was so beautiful to me I wanted it to be documented.
I think it makes a lot of sense. And I’m not saying it’s not a complicated thing to talk about, or that it doesn’t trip into some territory that we as settlers will never fully understand, but I do think that it follows perfectly with you bringing your whole entire self to your music. So much of what you do is tied to place and is tied to coming from Kentucky.
That was another part of it, showcasing where I’m from. And the cultural background of it.
And not just the colonial background of where you’re from?
No. I mean absolutely not. To me, that’s exactly how I saw it. Nail on the head. It might cause a little bit of question, but I think that’s good. ‘Cause then I’ll get asked about it. And then I’ll tell ‘em. [Laughs]
The idea of success, especially as it relates to being a musician, songwriter, and/or performer, has always been a wily, shifting idea. What are the benchmarks we use to determine someone’s level of notoriety? What are their claims to fame? Owning a tour bus? Having your first number one hit? Being the musical guest on SNL? Having a highway named after you? Or perhaps a proclamation from your local public figures designating a [Named After You] Day?
Well, for everyone’s favorite bluegrass powerhouse vocalist turned mainstream country star and global sensation Chris Stapleton, success isn’t measured only by a cameo appearance on HBO’s Game of Thrones. How about having LEGO figures modeled after you, your wife, your band, your stage set, and your otherworldly, music-hating fantastical arch-enemies?
LEGO Group and Stapleton collaborated on the brand new music video for “Second One To Know,” creating a fully realized toy brick universe replete with Stapleton’s signature hat, Morgane Stapleton’s omnipresent tambourine, strikingly accurate LEGO versions of instruments, gear, crew, family members, and even a cameo by bassist J.T. Cure’s cat! (A cat-meo? A cat-meow?)
It may seem a little off the wall for an artist who, while ceaselessly compelling, is generally reserved and counterintuitively subdued — despite his music and window-shaking voice being anything but. But the video is whimsical, painstakingly detailed, expertly crafted, and damn, it’s entertaining. Watch LEGO + Chris Stapleton’s “Second One To Know” right here, on BGS.
As this is being written, we’re on our way to the UK to prepare for our FIRST EVER international stage takeover, taking place next weekend at The Long Road Festival, in Leicestershire (near Birmingham). It’s a milestone event for BGS, and part of a larger initiative to reach our dedicated audience outside North America and shed light on some incredible talent that is putting their own spin on folk and roots traditions from other parts of the globe.
To prepare for The Long Road, held Sept. 7-9, we’ve summed up the top stuff we can’t wait to see and do while we’re in town. Hope some of you can join us to check out these highlights too:
1) That lineup tho… With main stage appearances ranging from Carrie Underwood and Lee Ann Womack to Billy Bragg and Joshua Hedley, TLR is representing a variety of talent from commercial [read: Pop] Country to Americana with a capital A. The lines between roots and country music seem a bit more blurred over here, and we can’t wait to see how it all comes together.
2) Birmingham Less than an hour from the festival lies the city of Birmingham. What was once a hardened industrialist town is now a breeding ground for creatives and start-ups, fostering one of the youngest populations in Europe (nearly 40 percent of the population is under 25). There’s plenty to discover here — from the old Custard Factory market to four (4!) Michelin-starred restaurants — so it’s a great stopover before or after the festival weekend.
3) AMA-UK stage takeover Friday kicks off the fest with our friends at Americana Music-UK curating a stage featuring their freshest crop of British Americana talent. (Stay tuned to the BGS site for an announcement highlighting an upcoming collaboration with that team very soon….)
4) Moonshine + whiskey tastings?! Say no more. You can find us in the Honky Tonk for more than just the BGS stage…
5) Stanford Hall This is not your mama’s country festival. TLR is held on the grounds of Stanford Hall, a 400-year-old stately home in the heart of Leicestershire, sitting on over 700 acres of expansive parkland. Not too shabby!
6) Born in Bristol film screening Produced and presented by the Birthplace of Country Music, retracing the 90 years since the recording of the original Bristol Sessions the resounding impact that music has had on the world, the documentary features the likes of Dolly Parton, Vince Gill, Eric Church, Emmylou Harris, Steve Earle, Marty Stuart, Sheryl Crow, and Doyle Lawson. Special screenings of the film will take place on site at TLR.
7) The Bluegrass Situation Takeover at the Honky Tonk stage on Sunday, September 9 (DUH!) Featuring a cavalcade of fierce females from three different continents, our BGS-curated stage highlights everything ranging from bluegrass (Cardboard Fox) to country (Ashley Campbell, Angaleena Presley) to folk (Dori Freeman, Worry Dolls) to Americana (Danni Nicholls, Ruby Boots). It’s gonna be great. You can check out the full day’s schedule below:
Welcome to Gig Bag, a BGS feature that peeks into the touring essentials of some of our favorite artists. With a guest appearance from his cat, Possum, Joshua Hedley details the items he always has nearby when out on the road.
Truck stop pillow: It’s cheap, it doesn’t need a pillow case, and it’s more comfortable than a van seat headrest.
Adidas Tracksuit: It takes up less room than a blanket because you’re wearing it.
Adidas Adilette Cloudfoam Plus slides: Just get a pair. You’ll see. P.S. definitely wear with socks.
Fanny Pack: It doesn’t matter what brand, I just like Adidas. Anyway you can keep all your stuff in it and it takes up less room than a backpack. It gets cramped easily in the van so minimizing clutter is key.
Bose QuietComfort 35 II headphones: I fly to Australia twice a year. That’s a long ass flight and the batteries in these things last FOREVER. They’re not cheap but they’re worth every penny.
My own hat: Idk, it’s a free hat.
Photo of Joshua Hedley: Jamie Goodsell
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