MIXTAPE: An Indigo Takeover by Spotify’s Laura Ohls

“Our Nashville-based team had been having ongoing conversations since early 2019 regarding just how diverse the taste of our country music audience was. It was clear to us that there were many modern songs in the genre, touching on Americana, rock, roots, and bluegrass, that had sonic and thematic throughlines. We were also seeing many of these artists on the road together (Marcus King Band joined Chris Stapleton, Yola toured with Kacey Musgraves), talking to each other on socials, echoing the strong community within the scene. With this in mind, the goal was to create a playlist brand that reflected these intersections and the audience appetite for a playlist of this nature. With the success of the playlist since its launch in March, Indigo has continued to be a priority for us, which is reflected by enthusiastic listening from users. We’re celebrating the playlist this month with a sizzle video, new video playlist formats, artist sharecards, billboards, and more, in hopes of bringing more fans aboard the Indigo train.” — Laura Ohls, Senior Editor, Folk & AAA, Spotify

 (Editor’s note: Listen to Laura Ohls’ Indigo Takeover Mixtape below.)

Zach Bryan – “Heading South”

Twenty-three years old and on active duty in the US Navy, Zach Bryan might not be what one would expect from a country act on the rise. The Oklahoma native’s self-released material from the fall of 2019 is gaining traction on Spotify, creating buzz throughout the Nashville music industry. At the time of its initial release he had no publicist, no manager, no team to speak of whatsoever, yet his live videos sparked the interest of an audience on social media — which ultimately led to the flood of activity on streaming we are seeing today. His biggest song to date, “Heading South,” has been included in our Indigo playlist since its launch in March and remains a consistent tentpole track. Though he hasn’t had the opportunity to tour as a result of deployments and the pandemic, expect crowds of fans when the time comes.

Caylee Hammack – “Small Town Hypocrite”

One of country’s most notable rising stars, Caylee’s powerful and vulnerable ballad proves how strongly personal songwriting still resonates in the genre. A vocal standout in the playlist, you’ll feel her heartbreak and strength throughout the song.

Flatland Cavalry – “War With My Mind”

While the song was not written during the pandemic and this time of quarantine, the Texas band’s newest song lyrics grapple with internal battles we all face due to lack of stability, isolation, or just general disruption, which certainly resonates with listeners today.

Brent Cobb – “Keep ‘Em on They Toes”

A real toe-tapper, this track encourages the listener to follow your own path versus one that has perhaps been laid out for you. The song also suggests taking higher ground when being tested by others, some sage advice we could all use during these stressful times. Cobb’s classic, warm tone shines through this cut.

Hailey Whitters – “Heartland”

The Iowa-native-turned-rising-country-star pays homage to her roots in this nostalgic song about the place she was born and raised. As the saying goes, you can take the girl out of the Heartland…

Cut Worms – “Sold My Soul”

A hint of Neil Young, a splash of Guy Clark, a shake of Gram Parsons, and you get this great tune from Cut Worms, AKA Max Clarke, embodying country-folk storytelling at its finest.

Jonathan Terrell – “Never Makes a Sound”

I have seen Jonathan Terrell’s music described as “Springsteen in a Honky Tonk,” and no song better reflects said description on Terrell’s new record than this one. Passionate and driving, it’s a real rocker on Indigo.

Aubrie Sellers – “Far From Home”

A little bit country, a little bit rock ‘n’ roll, Aubrie makes the kind of gritty Americana that a playlist like Indigo was made for. The title track and opener off her newest album is a more subtle take on her “garage country,” but is exemplary of how dynamic she is as an artist.

The War & Treaty – “Five More Minutes”

The husband-and-wife duo have always written songs that strike a chord and can often bring the listener (me) to tears, but they’ve managed to accomplish this with a song that feels upbeat and… happy? The roots of the song, however, are quite dark. Michael Trotter Jr, after years of mental and financial struggles, contemplated leaving this world. In response his wife, Tanya, pleaded to him, “Just give me five more minutes. Stay with me. Just five more minutes to love you.”

Charley Crockett – “Welcome to Hard Times”

Is there really another song title on this playlist that is more appropriate for our day and age? Following his 2019 album, The Valley, and a severe health scare, Charley’s newest album (and title track) touches on failures and a system that’s rigged for said failures. Crockett is one of those artists that embodies all subgenres and eras under the American roots umbrella, and it’s songs like these that showcase how his art feels old and familiar while simultaneously being new and exciting.


Images and artwork courtesy of Spotify

Interviewed by His Daughter, Mac McAnally Recounts a ‘Lifetime’ in Music

Mac McAnally is a highly-decorated and prolific multi-instrumentalist, producer, songwriter, and artist. He tours with Jimmy Buffett’s Coral Reefer Band, plays on countless sessions in Nashville and Muscle Shoals, and produces a number of independent artists, too. But more important to me, he’s my dad. And he’s a great one. On the occasion of the release of his new album, Once in a Lifetime, we discuss guitars, bluegrass, moments of social change, why he covered a Beatles song, and the process of making this record amidst a pandemic. And though I get to talk to him most days of my life, it is heartening to hear him put a fine point on his eternal optimism.

BGS: Growing up, music was constant in the house and one of the most pervasive cover songs you played was “Norwegian Wood.” What do you think it is about that song that sticks in your craw and drew you to record it?

Mac McAnally: As you know, I’ve always loved that song. In the very first line, from a lyric standpoint, “I once had a girl/Or should I say/She once had me,” you can tell any story in the world after that. That is something that I subconsciously try to do and have since the beginning.

Specifically, why I recorded it is because I bought an octave mandolin about four years ago. I did a show with Sarah Jarosz and she had one and let me play it and I thought, “I am going to have to get me one of these.” I always feel like I have to do something to justify the purchase so I play it on as many sessions as I can to try to amortize the cost, but I also came up with this new way to play it that is kind of a cool arrangement that I’ve never heard. I don’t in any way challenge the Beatles version and don’t mean any disrespect; I’m trying to find ways to justify the guilt of buying an octave mandolin.

On almost every record that you’ve made there’s a nod to bluegrass, like “Brand New Broken Heart” on this record. Who are some of your biggest bluegrass influences?

I have to preface this by saying I am a bluegrass fan, I am not a bluegrass player. Anything that I might be doing would just be trying to pay homage to what the greats can do. I’ve gotten to play with some of them, which I count high among the blessings of my life. When I wrote “Brand New Broken Heart,” I envisioned I would someday pitch it to Ricky Skaggs or Dailey & Vincent. I recorded it because I was a lazy song plugger who never pitched it to anybody.

Doc Watson was one of mine and my dad’s heroes. He was sort of my intro to real bluegrass. And all the way through my life, Emmylou Harris. We played her songs in bands when I was a teenager. Bryan Sutton is just frighteningly good. I can’t even fathom what he is doing, let alone try to do it myself. He inspires me to go get a pick out and play differently than I play because I love so much of what he does. And I’m crazy about I’m With Her.

What brought about recording “Changing Channels” for this record?

I have always loved that song. It is the second song that Jimmy (Buffett) and I wrote together. We wrote it in one my favorite places I have ever been. He had a spot down in Thomasville, Georgia, with a big porch. As you know I’m a porch guy. We sat out on the porch and wrote that song. He did a great version of it on Off the See the Lizard and I honestly never imagined myself cutting it but I love to play it. It has worked its way into my shows over the last ten years and his fan base will come up after and ask which one of my records the song is on. They had cash out trying to buy it and I don’t have it. You know better than anybody how terrible of a businessman I am, but eventually enough people tried to buy a version of it that I listened.

You have collected a lot of guitars, and in various ways: some saved from landfills, some gifted, some cast for you by friends and colleagues. How do you pick which guitars make your records?

It is certainly not an exact science but sometimes it is the guitar that the song came out of. The main thing that has always made me select guitars is if I think they have songs in them. I would happen to be holding them and a couple of my stories got mashed with them. In more cases than not, if I wrote a song on a guitar, that’s the one I’ll record. You end up learning over the years. In the same way when you are photographing someone, you learn what the best side of their face is. … A Gibson with dead strings is an awesome rock ‘n’ roll rhythm guitar. A Martin with new strings is an awesome fingerpicking guitar.

We are in a moment of social change. Music has the power to both inspire and record change. You moved to the Shoals in the ‘70s. Thinking back on those early days in the studio, what was it like in those moments?

Playing music in Muscle Shoals was extremely encouraging from the standpoint of equality. They didn’t really think of it in terms of race. Music transcended that. And I love that. And I still love that. I’m standing in Muscle Shoals right now proud to be part of that. You can be encouraged on some levels and discouraged on some levels and I am both of those things. I haven’t in my life ever thought that I was better or worse than anybody else and I look forward to that being a more prevalent vantage point for everyone.

I want to challenge you on that a bit. One of your dear friends and longtime collaborators, Ralph MacDonald, told you that he never felt comfortable coming to Muscle Shoals and we’ve heard from more folks that it wasn’t an inviting place to come collaborate, so a lot of those musicians opted for Detroit or Miami. With that added perspective, does it make you feel differently about the time?

Absolutely, it makes me more aware of the context. As I said, Muscle Shoals would have been advanced in terms of racial relations in the music community in the South. As I look back now, I realize that doesn’t mean it was great. It was just better relative to the surroundings.

Ralph and I, we were like brothers. He told me he would’ve been scared to death of a big red-headed dude from Mississippi. And he was a Black man from Harlem. I could not have imagined that we would connect on as many levels as we did. We both had misconceptions that got better. He was one of my heroes. He was one of the best percussionists that ever played. And I loved him. It is hard to get into racial discussions without stirring stuff up. But we made each other better. Music is one of the best ways to bridge across preconceptions. I think it’ll play a big part of getting us the rest of the way home. ‘Cause we ain’t there yet.

Stirring stuff up is the way we make progress.

That’s true and they are not easy discussions. I don’t think of myself as someone with prejudices, but when I think back, some of the things I laughed at growing up as a kid in Mississippi I’m embarrassed of. And I was mainly laughing because everyone around me was laughing, but when I think of what it was we were laughing at, it is embarrassing. I don’t really want to talk about it, I just want to be a better person, because I know it was wrong. But you are right. Talking about it is better. Air it out.

What does it feel like to release an album in a pandemic?

Well, not speaking ill of either thing, but I hope it is a one-time thing. I hope I never have to try to beat a pandemic album with a second pandemic album. My records are normally made in what I call “the cracks of time.” I make them in the cracks of my schedule because I work full-time as a Coral Reefer, a fair amount of time as a session musician for other people, writing songs for other people and producing other folks. But because of the circumstance of this record, it is really special to me because I got to sit and think about what I felt was important and what was not. I wouldn’t wish a pandemic on the world just to get extra time to make my record. I think maybe next time I’ll just take the time on my own.

Even in your darkest lyrics, there is a balance that shows your shining optimism. We are surrounded by a heavy dose of dark right now. Are you feeling optimistic?

Absolutely. I absolutely am. I wish we weren’t where we are right now and that everyone could see that it is better to find a way to coexist than it is to hate one another. I’m not someone who has any room for hate. As you recall, I don’t even like the word. I’ve probably pestered you about it for your entire life. Actual hate hurts me. We’ve been celebrating the life of John Lewis the last few weeks and John is a great example of figuring out a way to make it better by not hating the people who hated him. I think things are going to get better and I intend to try to help.


Erin McAnally is a regular contributor to The Bluegrass Situation

Photo Credit: Jeff Fasano

LISTEN: Joan Osborne, “That Was a Lie”

Artist: Joan Osborne
Hometown: Brooklyn, New York
Song: “That Was a Lie”
Album: Trouble and Strife
Release Date: September 18, 2020
Label: Womanly Hips/Thirty Tigers

In Their Words: “I get so enraged watching these polished, camera-ready mouthpieces for our government just straight up lying to us. And journalists seem unable use the word ‘lie’ when talking about this: their coverage is full of euphemisms like ‘falsehoods’ or ‘misstatements.’ But these are just blatant lies, and I think it’s important not to sanitize them, to call them what they are. People in power are abusing the public trust, whether it’s government officials or the insurance industry or the hierarchy of the Catholic Church, and I believe we need to call them on it in no uncertain terms. To quote Bob Dylan, ‘I just want you to know I can see through your mask.'” — Joan Osborne


Photo credit: Jeff Fasano

BGS 5+5: Daniel Donato

Artist: Daniel Donato
Hometown: Spring Hill, Tennessee, an hour south of Nashville.
Latest Album: A Young Man’s Country (August 7, 2020)
Personal Nicknames: DD, sometimes.

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

I was walking by Legend’s Corner, a bar in Nashville with my father. This was the first day I ever busked on the street, and I made $0. The lead singer was taking a break to pass the tip jug. The bass player called me on stage, over the microphone. “You look like you play guitar,” he said. “I try,” I said! I got on stage, plugged in, and played for two songs that were completely improvised. That was it for me. I knew the stage was my soon to be dojo.

What other art forms inform your music?

Podcasts are big for me. Hence, why I started my own “The Lost Highway.” I think podcasts and jam bands aren’t all that different. What you have is complete improvisation with the instrument of language. Improvisation forces honesty but also unique expression out of your skill with said instrument. A moment in time is created by humans that truly could never happen again. It also is OK if this moment lasts a few hours! That sounds a whole lot like the Grateful Dead. Or a Cosmic Country show!

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

DD’s 3 P’s! Patience. Persistence. Positivity. These fuels are essential to keeping things Cosmic.

What’s the toughest time you ever had writing a song?

Songwriting is day one, each time. A perpetual white belt. Because each song is different. Quite literally, each song is the toughest one to write. Performance, content creation, and guitar playing are not like this at all.

What rituals do you have, either in studio or before a show?

I get as calm as possible. I get stoic. Essentially, view yourself outside of being yourself. This gives you a humbling perspective that allows you to see that everyone is quite on the same level. On stage, it is important for me to keep that in mind, so I can steer the wheel in the way that the audience will get the most out of the experience. It is all about the people. The more calm I am, the better the moment will be for the listeners on the other side of the guitar.


Photo credit: Jason Stoltzfus

WATCH: Taylor Goldsmith of Dawes Performs at the Autry Museum in L.A.

In an effort to support the visual and musical arts, especially during a time when we can’t visit museums or concert venues, The Autry Museum of the American West is presenting a music video series featuring intimate, acoustic performances by some of L.A.’s best musical artists, all filmed live on location. The Autry will be unveiling a new performance every two weeks.

The Autry Presents: The Best of Los Angeles, produced by Gia Hughes and filmed by Emmy-winning filmmaker Austin Straub, will feature 20+ minute sets by Los Angeles-based artists Taylor Goldsmith, Gaby Moreno, Aubrie Sellers and Chris Pierce. The musicians will perform alongside artwork and objects on display at The Autry including Bridges by James Doolin, War Music II by Mateo Romero, and a Concord Mail Stage Coach made by Lewis Downing.

Hughes tells BGS, “We’re excited that the first video in the series features the prolific songwriter Taylor Goldsmith, of LA’s hometown heroes Dawes. I’ve been fortunate enough to have seen them in countless live settings over the years, and getting to share this particular performance with Taylor is just as special. You feel like you’re in the room with him and get to hear just how unique and special his songwriting is.”

LISTEN: Shovels & Rope, “C’mon Utah” (Acoustic)

Artist: Shovels & Rope
Hometown: Charleston, South Carolina
Song: “C’mon Utah” (Acoustic Version)
Album: By Blood Deluxe Edition
Release Date: August 28, 2020
Label: Dualtone

In Their Words: “Presenting the campfire version of this traveler’s journey atop a magical horse named Utah, who leads him on a quest through the southern Midwest back to his family from whom he’s been separated by a heinous, authoritarian evildoer.” —Michael Trent & Cary Ann Hearst, Shovels & Rope


Photo credit: Mike Crackerfarm

The Way She Talks: S.G. Goodman on Weirdos, Writing, and Western Kentucky

S.G. Goodman has a lot on her mind. That much is immediately clear in the Kentucky musician’s voice, her songwriting, and throughout her new Verve Forecast debut, Old Time Feeling. Produced by Jim James of My Morning Jacket, the confessional album encapsulates her experiences on a personal level as well as the environment that’s influenced her.

Growing up a farmer’s daughter in rural Western Kentucky may not be the most common background for a musician who finds their community in a college town post-punk scene. Yet, Goodman is proof that where you come from has not much to do with fitting in. In a time where so much of our world seems polarized, Goodman — despite the way she talks — found her place in a post-punk “Mecca for weirdos.” BGS sat down with Goodman to talk about her hometown, how she encountered her tribe, and her defense of Southern people and culture.

BGS: For someone who’s never been to your Kentucky hometown, how would you describe it?

Goodman: My hometown is Hickman, Kentucky, and it’s a river town. Mark Twain described it as “a pretty town, perched on a handsome hill.” I’d say he’s right on the money. But, at the time Mark Twain was passing through, Hickman was a lot different. Now it’s a bit of a ghost town with a lot of soul. There’s no stop lights, one convenience store… it’s a beautiful place. Less than 3,000 people, but no place like home.

How did you find your community in music?

Well, I don’t live in my hometown anymore. I live in Murray, Kentucky, which is a college town, so there’s an influence of people from all over. I kinda got plugged in hanging out at a local record store in college and met some of my best friends that way. Murray is an interesting place, because a lot of people don’t think of Western Kentucky as having a thriving post-punk scene. Probably around 2010, 2011, there were a lot more shows, a lot more bands passing through. We have a really conveniently-located record store called Terrapin Station. We pass around an offering plate — bands get taken care of really well for such a small community — it’s like a true listening environment. It’s just kind of a Mecca for weirdos, where everybody is welcome. It’s not pretentious at all, perfect place to cut your teeth.

Were you already playing music at that point?

Yeah, I was. By the time I was just about to turn 19 years old I made a record, it was pop. I dropped off a bunch of copies to the record store and said, “Put one in every bag that leaves here.” That’s how I met my good friend Tim Peyton, who’s managed that store and worked at that store since he was 14 years old. Probably two years from that point, we’d be best friends, going to house shows together.

When I was 15 — I was a big athlete in school — I convinced my mother to let me not play basketball anymore so I could take music lessons. And I did for over a year, but I had to drive an hour away to take them, plus I found out I was teaching myself more than what I was learning in the classes. You know, I’d say my biggest musical influence was probably just being raised in church. I’m not a churchgoer anymore, but I could never deny the fact that going to three concerts a week was highly influential to how I view melodies and lyrics.

The opening song, “Space and Time,” seems to be saying something that’s important to you. What was on your mind as you wrote it?

That’s a special song. Being very point blank in my lyrics — when I first wrote those lyrics, I was a little unsettled by that. A friend asked me once, “Did you say everything you needed to say?” So I look at songs like that a lot now. I don’t think there’s anything wrong with letting people know how you feel about them and what they mean to you, just really contemplating what makes a life.

While a song like “Space & Time” is so personal, the very next track, “Old Time Feeling” is a call to action. How do those two sides of your songwriting work together and compliment each other?

A lot of people ask if I conceptualized this album before I wrote it, but I just write songs as they come to me, and try to respect them enough to see them through. If people look at this album as a moment in time over the course of my life, then they shouldn’t be shocked for me to have some political thoughts. I’m bound to walk around with my eyes open. There’s a lot of people who paved the way for artists to not just write songs about getting their heart broken. Artists are supposed to comment. How could you not? If I want to write a song about a red Corvette or something, I’ll do my best to make it a good one. But at the end of the day, I do wonder why so many artists these days aren’t commenting through their art on what’s going on in the world.

What do you remember about the recording sessions?

We did this in April 2019. The studio — it’s in Louisville, Kentucky — is called La La Land. It had been owned for years and started by a Kentucky guy named Kevin Ratterman, who’s on a lot of people’s records. He’s an amazing person, a total beam of light when he walks through the door. It was really important for me to make sure that this music was made in Kentucky, because so much of my music is about this place.

What do you want people to understand about the way it really is in the South?

I can’t speak for the South — as a writer I’m speaking from my POV — but I would say, don’t write off the South for its regressive policies. That does nothing for those who are working daily to change that. There are progressive pockets all through the South and through Kentucky who are devoting their time and their lives to make sure that their neighbors are safe and taken care of. In my opinion, America, for a very long time, has used the South as a scapegoat for a lot of its backwards problems.

Now that the album is out in the wild, what goes through your mind when you hear it?

I’m proud of it. There’s little moments — at the end of my last track (“Big Girl Now”) you can hear my drummer and friend for nearly 10 years talk at the end of the track. I’m so glad that we were all represented, and our friends were all represented, in that music. I’m not sick of listening to it. It’s not like I go out and listen to it every day, but you have to keep in mind I’m gonna be playing these songs for years. So, I better love ‘em!


Photo credit: Michael Wilson

WATCH: Logan Ledger, “Starlight”

Artist: Logan Ledger
Hometown: Nashville, Tennessee (by way of San Francisco)
Song: “Starlight”
Album: Logan Ledger
Release Date: May 3, 2020
Label: Rounder Records

In Their Words: “I was very fortunate to work with Joshua Shoemaker on the video for ‘Starlight.’ He’s a fantastic director. He conjured up the shadow world of sleepless nights and broken dreams. We shot it on the banks of the Cumberland River as the sun sank beneath the trees. It was a beautiful time.” — Logan Ledger


Photo credit: Bella Mazzola

BGS 5+5: Aubrie Sellers

Artist: Aubrie Sellers
Hometown: Los Angeles, California
Latest album: World on Fire and Far From Home
Personal nicknames (or rejected band names): Aub, Ubrie, Grand Ole Aubrie

Which artist has influenced you the most … and how?

I’m hugely influenced by Buddy and Julie Miller. Their songwriting, production, voices, playing, everything is so incredible and unique. They put so much of their soul into every bit of it. Songs like “You Make My Heart Beat Too Fast” and “Dirty Water” are on my all-time favorites list. If the world of music was filled with with artists like Buddy and Julie, we would be looking at a very different landscape.

What’s your favorite memory from being on stage?

On album release day for Far From Home, I was playing Town Hall in New York with Brandy Clark and Tanya Tucker. I was so excited that my record was out that day, and that I was getting to play with these two incredible artists who I admire. But, I was missing a lot of people who couldn’t be there with me to celebrate. In the middle of my set, I felt a tap on my shoulder, and my first thought was something had gone really wrong because they had been experiencing some technical issues. I turned around and Presley, Tanya’s daughter, was standing there with some flowers for me to make me feel more at home. That’s the first time I’ve ever cried on stage, and I’ll never forget it!

What other art forms — literature, film, dance, painting, etc — inform your music?

I’m a huge movie fan, and I moved to Los Angeles to act. I know music in film has always inspired my music, never more so than on Far From Home. I was listening to a lot of Tarantino soundtracks leading up to making that record, and I think because of my love for films I’m always seeing those visuals in my head when making music. I think it probably also informs my love of production because I love putting together a song in the studio and giving the whole record that cohesive feeling that a lot of art-driven films have.

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

I think the most important thing is to be true to yourself. As an artist, everyone around you has opinions on how things should be done, but you always have to follow your own light. Sometimes just being yourself can burn bridges if people don’t understand it. But, at the end of the day, I know if I don’t do that I won’t end up being proud of what I’m putting out into the world.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Growing up, I often found acting much easier than singing because I could hide behind a character. I don’t find myself doing that with music, most of my songs, if not all, come from a very personal place and being on stage as a frontwoman feels incredibly vulnerable to me. I’m a very sensitive and introverted person, and I can often hide it, but that doesn’t make it any less true to me. I love listening to music that has that raw quality to it, and so I think that’s naturally come into my songwriting.


Photo credit: Rose Carroll

WATCH: Liz Simmons, “Who Knows Where the Time Goes”

Artist: Liz Simmons
Hometown: Brattleboro, Vermont
Song: “Who Knows Where the Time Goes”
Album: Poets
Release Date: August 4, 2020 (single)
Label: Morgana Music

In Their Words: “I have known Sandy Denny’s ‘Who Knows Where the Time Goes’ (written circa 1967) since I was a teen and I’ve always loved it. It has that elusive poetic appeal in that it manages to say so much with very few words. There’s not much needed to preface it, as it speaks for itself so well in Sandy’s beautiful lyrics. I was raised steeped in the music of the folk revival, roots, and ’60s and ’70s rock ‘n’ roll, so it feels very fitting to have Pete Grant (Grateful Dead, the Incredible String Band) lend his beautiful pedal steel playing to my arrangement of this fittingly timeless song.” — Liz Simmons


Photo credit: Sid Ceaser