Tag: sadler vaden

You Gotta Hear This: New Music From Amythyst Kiah, Jordie Lane, and More

Posted on by Justin Hiltner

The last Friday of July came up fast, didn’t it? To close out the month, we’ve got another excellent round up of bluegrass, country, and Americana premieres that you won’t want to miss.

In the bluegrass department, we’ve got a brand new track from bluegrass hitmaker Ashby Frank featuring his labelmate Jaelee Roberts, Dallas Moore gives an intimate solo performance of “Up On That Mountain,” and we close our DelFest Sessions series with IBMA Award nominees Sister Sadie.

Coming from Americana and country camps, don’t miss a hilarious video from Jordie Lane paying homage to an East Nashville favorite, Nashville Biscuit House, Cole Gallagher shares a track that dropped earlier this week entitled “Traveling Man’s Blues,” and Mike Montrey Band serve up a quintessentially country love song, “Holdin’ on to Nothin’.”

Plus, Amythyst Kiah has just announced her upcoming Butch Walker-produced album, Still + Bright, with a lead single that features S.G. Goodman entitled, “Play God and Destroy the World.”

It’s all right here on BGS and you know what we think – You Gotta Hear This!

Ashby Frank, “God Gave Me Horses”

Artist: Ashby Frank
Hometown: Nashville, Tennessee
Song: “God Gave Me Horses”
Release Date: July 26, 2024
Label: Mountain Home Music Company

In Their Words: “‘God Gave Me Horses’ was co-written by one of my favorite Nashville songwriters, the great Connie Harrington, along with Leigh Nash, who is well-known for her solo recording career as well as being the lead singer for the band Sixpence None The Richer. A mutual friend of mine and Leigh’s played me her original cut of this song when she released it and I was blown away by the lyrics and instantly knew I wanted to record it with a rootsy bluegrass treatment. There are a lot of classic ‘prison songs’ that are considered bluegrass standards that talk about despair, hopelessness, and regret, but this composition has a more contemporary and positive message that I think will resonate with listeners of every generation. I’m so pleased with how this track turned out, and especially grateful for my great friend and Mountain Home Music labelmate Jaelee Roberts for lending her voice to this track. I can’t wait for everyone to hear it.” – Ashby Frank

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

Cole Gallagher, “Traveling Man’s Blues”

Artist: Cole Gallagher
Hometown: Nashville, Tennessee
Song: “Traveling Man’s Blues”
Release Date: July 25, 2024
Label: Raggy & Balls

In Their Words: “In order to really understand what ‘Traveling Man’s Blues’ is about, you’ve got to understand that I spent almost two years on the road with my father a few years back. Earlier this year, I moved from LA to Nashville, so when I got back out on the road to shoot a video for this song, I had nothing but nostalgia shooting through every frame of this video. I wasn’t much older at the time than I was driving across with my dad. But it was enough time to have forgotten how beautiful the sun looks setting in Arizona or an amazing bright blue sky over the Cadillac Ranch in Amarillo, Texas. I felt like I was both discovering and re-discovering myself at the same time.” – Cole Gallagher

Track Credits:
Barry Billings – Guitar
Chad Gamble – Drums
Cole Gallagher – Guitar, vocals
Jimbo Hart – Bass
Jon Eldridge – Keys
Sadler Vaden – Guitar

Video Credits: Shot by Cole Gallagher.
Produced by Cole Gallagher.
Edited by Abe Barrington.

Amythyst Kiah, “Play God and Destroy the World” (Featuring S.G. Goodman)

Artist: Amythyst Kiah
Hometown: East Brainerd, Tennessee
Song: “Play God and Destroy the World” (Featuring S.G. Goodman)
Album: Still + Bright
Release Date: July 26, 2024 (single); October 25, 2024 (album)
Label: Rounder Records

In Their Words: “This song is about coming of age as a misfit in suburbia. At home, I was encouraged to be curious to and express myself, and pursue whatever interests I wanted to regardless of gender, race, sexuality, or beliefs. However, I was not always met with this same attitude out in the community I lived in and it was frustrating to feel like I couldn’t really be myself. Being a naive kid, I would sometimes fantasize about being all-powerful and changing things the way I saw fit, but it is not up to me, or anyone, to tell everyone else how to live their life. We are all from this green and blue dot in space and will return to it all the same. There’s enough suffering in life as it is, why make it worse by policing each other’s way of life?” – Amythyst Kiah

Track Credits: Written by Amythyst Kiah, Sadler Vaden.
Produced by Butch Walker.
Amythyst Kiah –  Vocals, background vocals, acoustic guitar, electric guitar
S.G. Goodman – Vocals, background vocals
Butch Walker – Bass guitar
Ellen Angelico – Electric guitar, baritone guitar, mandolin
Matty Alger – Drums, percussion

Jordie Lane, “Biscuit House”

Artist: Jordie Lane
Hometown: Thornbury, Australia (Based in Nashville, Tennessee)
Song: “Biscuit House”
Album: Tropical Depression
Release Date: July 25, 2024 (single); August 16, 2024 (album)
Label: Blood Thinner Records, under exclusive license to ABC Music/The Orchard

In Their Words: “As with so many of my songs, I started out writing ‘Biscuit House’ with co-writer Clare ‘Lollies’ Reynolds about something external… somebody else. It’s a way to trick yourself into feeling less vulnerable. And it’s a way to observe the character in a more realistic and less biased way. But long story short, ‘Biscuit House’ is about imposter syndrome. Something so many people feel at some point in their lives, but especially creatives in the arts. And so the idea to dress up as this weatherman character, Tom Willing, to play in the video felt very fitting to explore being an imposter in a literal sense and get completely ridiculous and over the top.” – Jordie Lane

Track Credits:
Jon Radford –Drums, percussion
Jon Estes – Bass, pedal steel, keys
Jeremy Fetzer – Electric guitar
Clare ‘Lollies’ Reynolds – Backing vocals
Jordie Lane – Acoustic, tenor, piano, vocals

Video Credits: Directed by Mackenzie Brassfield & Jordie Lane.
Camera, editing & color by Mackenzie Brassfield.
Assistant Director of Photography, Mikey Haydon.

Mike Montrey Band, “Holdin’ on to Nothin'”

Artist: Mike Montrey Band
Hometown: Spotswood, New Jersey
Song: “Holdin’ on to Nothin'”
Album: Love, Time & Mortality
Release Date: August 2, 2024

In Their Words:“‘Holdin’ on to Nothin’ is about the process of love. It seems, more often than not, the story of love in songs is about the beautiful beginning, the tragic end, or the celebration of sustained love. However, it is often what we choose to hold on to or let go of in the most critical moments of a relationship that allows us to move forward or move on. Sometimes we just hold on to hope and sometimes we’re holdin’ on to nothin’.” – Mike Montrey

Dallas Moore, “Up On That Mountain”

Artist: Dallas Moore
Hometown: San Antonio, Texas
Song: “Up On That Mountain”
Album: Gems & Jams
Release Date: August 9, 2024
Label: Sol Records

In Their Words: “I’ve always loved bluegrass and really cut my teeth and learned guitar sitting in on countless bluegrass jam sessions back in Kentucky and southern Ohio when I was kid first starting out. My mama Madgelee played mountain dulcimer and she turned me on to a lot of bluegrass, Appalachian, and gospel music. Jimmy Martin, The Carter Family, John Hartford, The Osborne Brothers, and Flatt & Scruggs were some of my favorites to jam on and definitely influenced my style of playing and songwriting.

“‘Up On That Mountain’ is a song that I had written several years ago and that I have always called ‘a little bit of heathen preachin’.’ I even had a version of it that was recorded live in the Bullitt county jail but it’s been out of print for a while now. This song has been a staple of my live shows for many years and I’m always excited and proud that my 7 year-old daughter Victory Lee Moore joins us on stage for this one. I had a lot of fun with this solo acoustic arrangement and it felt like a perfect fit for the closing of this Gems & Jams album. Wherever I am this song always takes me back home.” – Dallas Moore

Track Credits:
Dallas Moore – Vocals, guitar
Brian DeBruler – Producer, engineer

DelFest Sessions: Sister Sadie

We are so excited to unveil the final installment of our DelFest Sessions, featuring Grammy-nominated bluegrass supergroup Sister Sadie. Over the course of the Memorial Day festival in Cumberland, Maryland, BGS contributors and videographers I Know We Should shot a half dozen superlative live performances on the gorgeous banks of the Potomac River. From festival hosts the Travelin’ McCourys, Big Richard, and Wood Belly to East Nash Grass, Mountain Grass Unit, and now the Sadies, each edition of our DelFest Sessions has been an audio swatch of the incredible national string band scene we all adore.

With a raucous “WOO!” shouted to the festival-goers floating by in their inner tubes and kayaks on the river, Sister Sadie stepped up to the mics to deliver two gentle, burning, emotive tracks pulled from their critically-acclaimed album, No Fear, which was released earlier this year. The first, “Blue As My Broken Heart,” was written by Dani Flowers – who sings lead on the number – with co-writers Victoria Banks and Rachel Proctor. Evocative imagery and detailed text painting here feel more than appropriate for the setting, in the verdant foothills of Appalachia on the cusp of spring and summer. You can almost feel the blue sky above and you can certainly grasp, immediately, why this group is up for eight IBMA Awards this year – including Entertainer of the Year and Vocal Group of the Year…

Watch the full session here.

Photo Credit: Amythyst Kiah by Kevin & King; Jordie Lane as “Tom Willing” by Mackenzie Brassfield.

WATCH: Drayton Farley, “Norfolk Blues”

Posted on by Editor

Artist: Drayton Farley
Hometown: Woodstock, Alabama
Song: “Norfolk Blues”
Album: Twenty on High (produced by Sadler Vaden)
Release Date: March 3, 2023
Label: Hargrove Records/Thirty Tigers

In Their Words: “My new album, Twenty on High, will serve as my breakout record and I believe these 10 new songs to be my absolute best work yet. This album will be my first-ever full band release. The goal was to keep the songs honest and true and their stories at the forefront. To have the music serve the song but still make a record that would stand the test of time. I believe that’s exactly what we’ve done here and I couldn’t be prouder.” — Drayton Farley

Photo Credit: Hayley Gjertsen

Hannah Wicklund & the Steppin Stones, ‘Shadowboxes and Porcelain Faces’

Posted on by Editor

Any given day of the week, one person or another will try to convince us all that rock ‘n’ roll is dead — that synths have replaced guitars for good and children are growing up more interested in clicking “like” on Facebook than they are clicking a set of distortion pedals. Believe what you want, but there are still generations of kids coming of age fascinated with rock ‘n’ roll and the power of a good riff, and Hannah Wicklund was one of them. There’s no real way to describe her music other than pure, unabashed rock, informed by blues and soul but screamingly ready for dark clubs, ready to get sweaty and solo the night away. Produced by Sadler Vaden, singer/songwriter and guitarist in Jason Isbell’s 400 Unit, Wicklund captures a restless spirit that no computer-generated sound could ever replicate on her self-titled LP.

Here’s the thing, though: This isn’t a rock ‘n’ roll publication. We’re in the business of roots, but our best rock stars have always had a golden touch when it comes to slower, folksier moments — think Led Zeppelin’s masterful “Going to California.” Wicklund, being the ambassador of the genre that she is, has her own similar moment, the gorgeous “Shadowboxes and Porcelain Faces.” To some solemn, thoughtful guitar, Wicklund ponders a world where beauty is only skin deep and connectivity between one another is quickly fading, despite being more technologically connected than ever. “These highlight reels ain’t real life; they’re just for show,” she sings. She’s right: It’s hard to know what’s real and what’s fake. But when it comes to rock ‘n’ roll, Wicklund’s the truth incarnate.

The 400 Unit: Gets Ready to Rock

Posted on by Editor

Before there’s sound, lights, or friendly stage banter, there’s stage wear setting the tone for the performance. Whether it’s sporting jeans and a tee or showing up dressed to the nines night after night, what a musician chooses to wear on stage says a thing or two about themselves and mood of the night.

I have an appreciation for everything from the understated and functional to the over-the-top wardrobe decisions of an artist/band. One band that always delivers an unforgettable performance while looking handsome as hell is the 400 Unit. I caught up with the guys earlier this month during their impressive six-night run backing Jason Isbell at Nashville’s beloved Ryman Auditorium and got a behind-the-scenes experience of their rituals and wardrobe choices. 

“No one ever gave me any advice on stage wear. I’ve been touring since I was 18 years old, so I pretty much learned as I went. I think it’s important to dress how you feel and, also, if you like a vintage look, don’t go too far; still try to remain in the current time you’re living in, as best you can.” — Sadler Vaden, guitar

Clothing Superstitions 
I like to have my coin necklace that belonged to my mother, who is deceased. I feel a sense of comfort and a relaxing energy when I wear it.

Pre-show Ritual
Lately, my pre-show ritual has been getting the guitar out and singing any song while Jimbo sings the high harmony.

Stage Wear Essential
I find that a good pair of black Levi’s jeans are essential for any rocker. You can make those work in any situation you’re in, if you need to look sharp or casual

Never leave for tour without … one good pair of comfortable socks.

“When I was 19 or so, and playing in a couple of different working bands in college, one of my gigs was in a blues band. For every other gig I did, it was pretty much anything goes, as they were college bands playing whatever was popular at the time. But my blues gig was always way more serious and professional. It was then that I realized that fashion had a place in what I was doing. Playing blues festivals and juke joints around the South put me around a culture of musicians who dressed their best, no matter what the gig. Admittedly, I don’t always go full-on dapper, but when I do …” — Chad Gamble, drums

Clothing Superstitions
As a drummer, I tend to stay away from things like long sleeves, coats, and slick boots. Plenty of drummers are able to pull those things off, but it only increases the possibility of disaster for me. Sticks getting caught in shirt cuffs and feet sliding around pedals are true wardrobe malfunctions. 

Pre-show Ritual
I pace. Endlessly. 

Stage Wear Essential
I wear hats when I play. I’m not vain enough to think that it makes me look better, but the truth is, I have the propensity to sweat when I play … a lot. If I were in Dire Straits or something, I might wear a sweat band, but hats serve that purpose well enough for me and look better, in my opinion. 

Never leave for tour without … Downy Wrinkle Release. 

“I don’t remember anyone giving me any particular advice about how to dress for the stage, but it was during my time in Son Volt that I figured things out for myself. That was my first professional gig and it was the first time I wasn’t begging my friends to come see me play because there was an audience already there for that band. A lot of them were paying good money for tickets and for a ‘show.’ Suddenly, you’re not just a musician; you’re a performer.” — Derry deBorja, keys and accordion

Clothing Superstitions
I used to wear a tie the night a show sold out. It was mustard yellow and probably lost somewhere in my closet. No real superstition behind it. It became a kind of game. Made it easier to decide what to wear on some given nights.

Pre-show Ritual
I go to the bathroom a lot. I drink a lot of water.

Stage Wear Essential
Combat boots are my new essential. You can wear them anywhere with pretty much anything, both on and off the stage. Very handy for touring as it makes for a lighter suitcase.

Never leave for tour without … either a camera, an audio recorder, or a pen and paper. Also, never leave for tour without cleaning up your place before you leave. Trust me.

“I can’t recall anyone specifically giving any advice on stage wear. I’d always heard that Hank Williams once said that, if you’re gonna stand in front of an audience to entertain them, you have to dress better than them. That piece of advice gets more expensive every year!” — Jimbo Hart, bass

Clothing Superstitions
I once had a fedora that I acquired while on the road with a band that didn’t end well, and I held on to that fedora … until I started almost having automotive incidents every single time I wore it. I started to believe that it was cursed, somehow. Derry and I had to go to St. Louis one time to get some of his gear, and I told him about the hat the morning we were leaving. He called me crazy and then we got in the van to leave and, sure enough, we almost got hit head-on. I tossed that fedora out the window somewhere on I-55 and, thankfully, no more near-collisions.

Pre-show Ritual
Besides making sure all pockets are empty, save a few picks, the only pre-show ritual that seems to happen every single night is me asking Derry if my clothes are okay. He always shoots me straight.

Stage Wear Essential
I wear a lot of hats. I call them essential because they cover up my lack of good hair. Also, I have a thin, aluminum bracelet that a friend gave me with ‘Sweet Home Alabama’ inscribed on it that I wear all the time (on and off stage) to remind me of where I’m from and the people who made me who I am.

Never leave for tour without … at least one awesome pair of boots. They always work with jeans, and you never know when you’ll actually need their functionality. It’s more often than one might imagine.

3×3: Sadler Vaden on Skunk Baxter, Huck Finn, and Holy Prophets

Posted on by Amy Reitnouer

Artist: Sadler Vaden
Hometown: Charleston, SC
Latest Album: Sadler Vaden
Personal Nicknames:  Sad-hammer, Sad-biscuits, Saddlebags, Jenn, SV, The Vaden, Frampton

 

A photo posted by Sadler Vaden (@sadlervaden) on

If Jesus, Buddha, Krishna, and Mohammed were in a band together, who would play what?
Well, Jesus would obviously be the lead singer because every singer believes they're the spawn of God. Buddha would hold things down on the bass. Krishna would, without a doubt, be the drummer, and Mohammed would be lead guitar because every guitarist believes they're the Holy Prophet.  

If you were a candle, what scent would you be?
Skunk Baxter

What literary character or story do you most relate to?
Well, I do read a lot of music books, rock bios, and such. I enjoy those quite a bit because I like to know where people came from and the details of their journey.  But I like Huck Finn. He was scrappy.

 

A photo posted by Sadler Vaden (@sadlervaden) on

How many pairs of shoes do you own?
I own 10 pairs of shoes.

What's your best physical attribute?
My smile — I think I have a good smile. It's genuine.

Who is your favorite Bruce: Willis, Springsteen, or Lee?
Springsteen. He's the Boss.

 

A photo posted by Sadler Vaden (@sadlervaden) on

Animal, mineral, or vegetable?
Animal. Animals rule!

Rain or shine?
Shine

Mild, medium, or spicy?
I always go for spicy and then realize I'm more a medium person. So, medium.

12 Great Moments from Jason Isbell at Ryman Auditorium

Posted on by Editor

As a songwriter, guitar player, and band leader, Jason Isbell is so talented, it’s almost ridiculous. He’s also one of the nicest, most humble guys in the business. And all of those qualities came into sharp focus last night at the third of four sold-out Ryman Auditorium shows. Isbell’s poetry and playing are graceful and thoughtful — no grimaces, no poses, no pretense. He just does what he does, in one of the most hallowed rooms in the country and surrounded by some of the best players in town — Amanda Shires (fiddle), Derry DeBorja (keys), Chad Gamble (drums), Jimbo Hart (bass), and Sadler Vaden (guitar).

Because writing a review of the evening would never capture its magic, here are 12 of the most special moments of the performance:

  1. The fact that he played Something More Than Free from top-to-bottom for the first (and probably last) time ever, took a short break, and came back to play some more “rock ‘n’ roll songs.”
  2. The way Shires looked at him during “Flagship” when they hit the line “Baby, let’s not ever get that way …” and, then, the way Isbell looked at her when he got to “volunteer to lose touch with the world and focus on one solitary girl.”
  3. The fact that Isbell wore sneakers on Sunday night after trying boots on Friday and Saturday. He explained that the floor at center stage was awfully worn down and slippery: “If I gotta fall down, I wanna fall down because Hank Williams and Johnny Cash raised too much hell.” He chuckled, then added, “I’ve fallen down for much worse reasons than that.”
  4. The tremendous musical ending of “Children of Children,” from the echoing snare hit on out. (It’s even more powerful live than on the record.)
  5. Every solo section after that — “Decoration Day,” “Flying Over Water,” “Never Gonna Change,” “Danko / Manuel” — particularly when Isbell, Vaden, and Shires swapped runs.
  6. “Cover Me Up.” (Good grief, what a perfect song.)
  7. The fact that Isbell’s dad was in the audience to receive his dedication of “Outfit” and the crowd sang along right from the start.
  8. The sight of Isbell and Shires walking off stage with their arms around each other.
  9. “Elephant.” (See “Cover Me Up.”)
  10. The way Vaden stepped to the side of the stage to give Isbell all the psychic space he needed for his slide solo on “Danko / Manuel” before easing back in to add to the glory of it all.
  11. The playfulness of Shires and DeBorja during “Codeine” — the two of them giggling and standing back-to-back to share a mic on the choruses; him showing off his accordion by stepping to the edge of the stage; and her staring deadpan at Isbell as she plucked her fiddle in response to the line, “If there’s two things that I hate, it’s having to cook and trying to date.”
  12. The fact that the show went a good 15 minutes past curfew and no one — band included — seemed ready for it to end.
  13. BONUS: The fact that Alynnda Segarra never once tuned her acoustic guitar during Hurray for the Riff Raff’s opening set.