Tag: Sara Watkins

LISTEN: Watkins Family Hour, “Just Another Reason”

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Artist: Watkins Family Hour (Sean Watkins and Sara Watkins)
Hometown: Los Angeles, CA
Song: “Just Another Reason”
Album: brother sister
Release Date: April 10, 2020
Label: Family Hour Records/Thirty Tigers

In Their Words: “It felt really good to dig into the potential of two people… the primary goal of this record became to see what we could do when it is just the two of us. The arrangements and the writing were all focused on that. Listening now, I’m really proud of what we did. These are songs that would not have come out of either one of us individually and it feels like a band sound, like this is what we do, the two of us.” — Sara Watkins

MIXTAPE: The Milk Carton Kids, In Harm’s Way

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“There’s a paradox at the heart of great harmony singing: when voices combine in so elemental a way that they disappear into each other, the effect is dizzying, mystifying, disorienting, and yet by far the most satisfying sound in music. Here’s a VERY incomplete playlist, spanning a few generations, of bands defined by their harmonies, who set my mind spinning with their vocal arrangements, execution, and pure chemistry as singers.

“Full disclosure: my own band is included aspirationally and for the sake of self-promotion. Author’s Note: Sorry not sorry for naming this playlist with a pun.” — Joey Ryan, The Milk Carton Kids

The Jayhawks – “Blue”

That unison in the first few lines is so thrilling cause you know what’s about to happen, and when the parts separate it just feels so good.

Gillian Welch – “Caleb Meyer”

The harmonies and Dave’s playing are so intricate in this song you’d be forgiven for glossing over the lyrics, which tell the story of an attempted sexual assault victim killing her attacker with a broken bottle. Check out the Live From Here version with Gaby Moreno, Sarah Jarosz, and Sara Watkins, and catch the alt lyric subbing “Kavanaugh” for “Caleb Meyer” about halfway through.

Gram Parsons & Emmylou Harris – “Hearts on Fire”

Just one of the all-time great duets. Who’s singing the melody, Emmylou or Gram? Hint: trick question.

Our Native Daughters – “Black Myself”

Do all supergroups hate being called supergroups? I wouldn’t know. Our Native Daughters is a supergroup though, and the power of their four voices in the refrains and choruses of this one are all the proof I need.

Dolly Parton, Linda Ronstadt, & Emmylou Harris – “Those Memories of You”

It’s insane that three of the great singers of their generation just so happened to have this vocal chemistry. Their voices swirl together like paint and make a color I’ve never seen before.

boygenius – “Me & My Dog”

Favorite game to play when this song comes on is “try not to cry before the harmonies come in.” Very difficult. Impossible once they all sing together.

The Smothers Brothers – “You Can Call Me Stupid”

GOATS. IDOLS. Favorite line is, “That’s a pun isn’t it?” “No, that really happened.”

The Milk Carton Kids – “I Meant Every Word I Said”

My band. Imposter syndrome. We recorded the vocals on this whole album into one mic together. It helps us disappear our voices into each other’s.

Crosby, Stills, Nash & Young – “Carry On”

For me, CSNY are the pinnacle of that disorienting feeling harmonies give you when you just have no idea what’s going on. I’ve never been able to follow any one of their individual parts and I LOVE that.

Sam & Dave – “Soothe Me”

When the chorus comes around and you can’t decide which part you want to sing along with, you know they did it right.

Louvin Brothers – “You’re Running Wild”

The Louvins sound ancient to me. Primal. The way their voices rub against each other in close harmony is almost off-putting but I’m addicted to it.

The Highwomen – “If She Ever Leaves Me”

There’s probably even better examples of the Highwomen doing that crazy thing with their four voices where they become one entirely unique voice, all together, but this song is just so good I had to go with it. And the blend in the choruses is just as intoxicating as it gets.

I’m With Her – “See You Around”

Really an embarrassment of riches in modern music on the harmony front. Hearing I’m With Her perform around one microphone drives me insane with the best possible mix of confusion, jealousy, and joy.

Mandolin Orange – “Paper Mountain”

The melancholy is so satisfying when either one of them sings alone, and then they bring that low harmony and I have to leave the room.

Skaggs & Rice – “Talk About Suffering”

This whole record is a masterclass in two-part harmony. It changed my entire concept of singing. I’m Jewish, but when this song comes on it makes me sing wholeheartedly of my love for Jesus.

The Everly Brothers – “Sleepless Nights”

The absolute masters of both parts of a two-part harmony standing alone as the melody. Credit to Felice and Boudleaux for that, for sure, but the Everlys executed it better than anyone before or since.

Simon & Garfunkel – “59th Street Bridge Song (Feelin’ Groovy) — Live at Carnegie Hall, New York, NY – July 1970

This is far from my favorite S&G song, but this live version especially showcases what geniuses they were at arranging crossing vocal lines, unisons, parallel melodies, nonsense syllables and swirling harmonies. Plus the nostalgic “awwww” from the crowd gives me hope that a sensitive folk duo could one day achieve mainstream success again.

Shovels & Rope – “Lay Low”

This starts out as a song of profound loneliness with just one voice singing, then the harmony comes in and it gets… even lonelier? Harmony is magic.

Boyz II Men – “End of the Road”

I’m a child of the ‘90s, don’t @ me. I never realized at all those 8th grade slow dances that we were subliminally being taught world-class harmony singing and arranging. Good night.

Photo Credit: Jessica Perez

Back 2 School with John C. Reilly, Mandy Moore in Photographs

Posted on by Justin Hiltner

On Saturday, November 2, community-minded music fans from all across Southern California gathered at the Palace Theatre in Los Angeles for Back 2 School. The variety show, presented by Kensington Presents, the D’Addario Foundation, and BGS, benefited the D’Addario Foundation’s important work supporting music programs in underserved schools and communities. John C. Reilly, Jim James, Mandy Moore, Garfunkel & Oates, and many others took to the stage with our five-star house band — helmed by the Watkins Family Hour and Mike Viola — to share music, songs, and laughter to bolster the cause.

If you didn’t have the good fortune to be in attendance on Saturday night, check out the magic of Back 2 School (thanks in no small part to our stellar drum line) right here on BGS. Good news, too: You can give to the D’Addario Foundation at any time, wherever you are. Donate here.

Photos by Elli Lauren Photography and Harrison Pearl Photography as noted.
Lead photo: Harrison Pearl Photography

Tom Brosseau’s ‘In the Shadow of the Hill’ Illuminates the Carter Family Catalog

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The impact and legacy of the Carter Family is a story that has been told many times, but we gain a new viewpoint from the mouth of a seasoned troubadour like Tom Brosseau. After decades of defining himself as one of this generation’s most insightful songwriters, Brosseau now takes a moment to pay homage to the Carter Family with his latest album, In the Shadow of the Hill: Songs from the Carter Family Catalogue, Vol. 1.

Volume 1 was recorded and produced by Sean Watkins with guest appearances from Dominique Arciero, Tristan Clarridge, and Sara Watkins. It features themes of love, loss, jealousy, and joy alike. An email interview with Brosseau uncovered from where this album sprouted, how the Carters influenced his own songwriting, and more.

BGS: Describe the experience of making this album. What are some things that stuck out to you as particularly memorable, challenging, or rewarding?

TB: In the Shadow of the Hill came about over a period of years. I don’t really know when it all started for me, but it’s in my blood now. When I was first beginning in music one of the songs I learned was “Wildwood Flower.” I copied the lyrics out by listening to the original recording: “Pale and the leader and eyes look like blue.” I must’ve listened to “Wildwood Flower” a hundred times over and over again, wondering if I’d gotten that line correct. Years later I discovered Wayne Erbsen’s book, [Rural Roots of Bluegrass Music] and while Erbsen lays out the origin of “Wildwood Flower,” I still wondered what it’s all about.

The process was the same with In the Shadow of the Hill as it was with the other albums Sean and I recorded; Grass Punks in 2014, North Dakota Impressions in 2016. I bring the bones of the song, Sean gives it form.

What role has the Carter Family played in influencing your own songwriting?

Carter Family songs never go beyond three minutes in length. While 10″ and 12” discs at 78 RPM (the recording medium of the day) only allowed for three to three-and-a-half minutes, what more could the Carter Family express if given extra time? Anyone who studies 78 music will learn about the art of brevity.

How did you prepare for the making of this album? Was research involved, and if so, what are some things you learned?

In the Shadow of the Hill came about because just enough time had gone by. Like how kernels of corn pop after sitting a little while in a hot, oily kettle. One day I woke and felt like I was part of the Carter Family. I read a number of biographies. Some were good. Ed Kahn’s liner notes to On Border Radio. Sara Watkins gave me a copy of Will You Miss Me When I’m Gone? and said, “Here, read this!” My favorite is Janette Carter’s Living With Memories. Castor oil solves a lot of problems.

Lou Curtiss, a musicologist and record-store owner in San Diego who died in 2018, had a rare tape of when he visited Sara Carter in Angels Camp, California, in the 1960s. Mostly it was her second husband doing all the talking, Coy Bayes, but it was still fun to hear since Sara Carter’s voice lords equally in tone during conversation as in song. What was it like to have been rocked to sleep by a mother with a voice like that?

Is there any song on this album that particularly resonates with you?

Sean and I recorded several songs not included on In the Shadow of the Hill. “While The Band Is Playin’ Dixie” is one of them. There’s a verse in that song that I often think about: “They found within his pocket a blood-stained little note/ A bullet hole had pierced it through and through/ It began with ‘Darling Mary, if I don’t come back again/ Just remember that my last thoughts were of you.’” People can just be so thoughtful sometimes.

Learning Carter Family songs is one of my passions. Eighty out of three hundred I know by heart. There’s a lot of repetition within the catalogue. The songs are three minutes in length. There’s three chords. There’s a lot about love, loss, heartache, death. I’ve picked up a few extra little shimmers of sentiments, though. One is about when nature smiles upon you, a feeling that we are not alone in this world envelops us. What a comfort that is.

If you were to play these songs for Janette, Joe, A.P., and Sara Carter, what would you want them to take away from your performance? What would you want them to remember, feel, think, etc.?

A college professor of mine, a writer, once told me that his hope was that his book would make it into the public library. I think we all wonder who’s going to remember us when we’re gone. I’m among the many who carry the flame of folk music. My hope is to light a few candles along the way.

Photo credit: They Went Rogue

MIXTAPE: Joseph’s Night Drive

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All three of us went to college in Seattle at a school tucked between Fremont and Queen Anne. At the time, pre-Amazon, we knew the city best for its bridges and sailor vibes and constant grey blanket of melancholy. When you’re driving around at night on top of Queen Anne Hill, thinking about your unrequited love (just me?) the city views of blinking lights are spectacular and the LiveJournal entry is brewing in your mind. These are the songs you’re listening to. – Joseph (Natalie Schepman, Allison and Meegan Closner)

Nick Drake – “From the Morning”

I chose the song with “morning” in the title as the first track of this Night Drive mixtape. Sequence is very important in a mix for a night drive. The first verse says “A day once dawned from the ground / Then the night she fell.” It sets the stage and delivers the opening monologue. — Natalie

Laura Veirs – “When You Give You Give Your Heart”

One of my favorite songwriters:

“My stampeding buffalo
Stops in her tracks and watches the snow
Falling through the old oak tree
When you give your heart to me.” — Natalie

Blanco White – “Ollala”

I found this song on a curated Spotify playlist and I haven’t been able to stop listening to it. It’s become one of my partner’s and my favorite songs to listen to together. — Allie

Fleetwood Mac – “Sara”

My friend showed me this song and told me her Mom used to sing it to her as a kid while she was tucking her into bed. I’ve never been able to shake that childhood movie moment when I hear this song. I listen to it as though that were my own comforting memory. — Meegan

Iron & Wine – “Naked as We Came”

This is a mood, isn’t it? I bet anyone who loved this song gets taken back to where they listened to it. It’s the quintessential Night Drive feeling. — Natalie

John Moreland – “Hang Me in the Tulsa County Stars”

This song means 1,000 things to me, but mostly it’s always felt like coming home. In a lot of uncertain times I returned to this song over and over again to ground me. — Meegan

Death Cab for Cutie – “A Lack of Color”

When I was first curious about how to write songs, Death Cab was big for me. He starts the song with “and” like you’re already in a conversation and that wowed me. — Natalie

Bob Dylan – “Don’t Think Twice, It’s All Right”

I heard this song later on in life (within the last year) and fell in love with Bob Dylan’s voice. I know… took me a minute. I love the tongue-in-cheek feel of it and it has given me many special listening moments. — Allie

Sufjan Stevens – “Casimir Pulaski Day”

Sufjan. Mind blowing for me. I’m amazed by his matter-of-fact, deadpan delivery while singing about scenes that combine the horror of cancer right next to “the complications you could do without when I kissed you on the mouth.” It feels like acceptance. It’s devastating but it feels true in my chest. — Natalie

Nickel Creek – “Sabra Girl”

I listened to this song in headphones every night as I fell asleep in my dorm room freshman year. The acoustic guitar, the mandolin, the violin, Sara’s voice. Perfect. — Natalie

Photo credit: Louis Browne

LISTEN: ‘The Peanut Butter Falcon’ Soundtrack

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The Americana-based soundtrack to The Peanut Butter Falcon features new and classic songs from Sara Watkins, Gregory Alan Isakov, The Staple Singers, The Time Jumpers, Ola Belle Reed, Chance McCoy, Parker Ainsworth, Butch Walker, Paris Jackson and Jessie Payo, as well as a score composed by Zach Dawes, Jonathan Sadoff, and members of The Punch Brothers. The heartwarming film written and directed by Michael Schwartz and Tyler Nilson premiered in March at the South by Southwest Film Festival where it won the Audience Award in the Narrative Spotlight category.

The Peanut Butter Falcon tells the story of Zak (Zack Gottsagen), a young man with Down syndrome, who runs away from a residential nursing home to follow his dream of attending the professional wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church). A strange turn of events pairs him on the road with Tyler (Shia LaBeouf), a small time outlaw on the run, who becomes Zak’s unlikely coach and ally. Together they wind through deltas, elude capture, drink whisky, find God, catch fish, and convince Eleanor (Dakota Johnson), a kind nursing home employee charged with Zak’s return, to join them on their journey.

“Michael Schwartz and Tyler Nilson are very musical and it was clear they heard what they wanted the film to sound like as they wrote the script. We discussed scores they liked as well as a curated playlist that felt aligned with the characters and place. ‘Atomic Throw,’ at the end of the picture, is my favorite musical moment because it serves the fantastical elements of the story – the music branches off from previous arrangements and instrumentation in a nice ethereal manner. I hope audiences see the importance of human connection and how integral that is to love and happiness. Family is what you make it and never be afraid to trust or love someone, or something.” — Zach Dawes, composer and music supervisor

“Music is an essential element in The Peanut Butter Falcon. One of the tracks that feels really special to us is the end credits song ‘Running for So Long (House a Home).’ It was the last cue left unfilled and the whole team was trying to find something with the right feeling to leave the audience with. After countless suggestions, we invited our good friend Parker Ainsworth to come over to write something with us in our living room a week before the movie went to final mix. Within three hours we had written the song, recorded it on an iPhone, cut it to picture, and sent it to our producers.” — Michael Schwartz & Tyler Nilson, writers and directors

“When my good friend Tyler told me about The Peanut Butter Falcon, and played me the song his friend Parker co-wrote for the film, ‘Running For So Long (House a Home),’ I was very excited and couldn’t wait to start recording. I suggested to bring Paris Jackson on board for some accompaniment — she has been a family friend for many years and she had just recently done some backing vocals on a record of my own. Everyone involved thought that she was perfect for the song and her vocals gave it a very special note, just like I feel the movie is. We also ended up putting a third singer on with them named Jessie Payo, who was Parker’s suggestion and I LOVE the result. The Peanut Butter Falcon is such a beautiful story with a wonderful (and much needed) message right now, that touched me deeply every single time I watched it — and I’ve watched it multiple times now. I’m sure it will touch the hearts of so many others as well.” — Butch Walker, music producer

Britain’s Got Bluegrass: March 2019

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Get off your couch and go hear some live music with Britain’s Got Bluegrass! Here’s the BGS-UK monthly guide to the best gigs in the UK and Ireland in March.

Mile Twelve, 20 March, Green Note, London (and nationwide)

First let us rave about Mile Twelve, a band who, unlike the bearded wonder, have never played in the UK before, and who will–we guarantee — send you home with a big smile on your face. This young five-piece from Boston are some of the most skillful musicians of their generation — they’ve picked up multiple Emerging Artist award nominations at past IBMA Awards for their ability to mix hard-driving traditional bluegrass with a thoroughly modern sensibility, all while charming an audience’s pants off. Catch them on this UK tour and you’ll be able to say you saw them first… Check out their cover of “Rocket Man.”

Chris Stapleton, 8 March, Glasgow

If there’s a musician more likely to bring a British arena to its knees this month, we’d like to know who it is. In a land of anxiety-ridden repressives (we can say that because we are too), Chris Stapleton is so droolingly cool that it’s tempting to worship him as a god. Last time he was in the British Isles he was duetting with Justin Timberlake at the Brits, for heaven’s sake. In addition to Glasgow, you can catch his barrel-aged voice in Dublin and London, where he’ll be sharing the billing with Keith Urban, Lyle Lovett, Ashley McBryde and Lady Antebellum among many more at the C2C Country to Country music festival.

Thunder and Rain, from 6 March, nationwide
A dreamy blend of dobro, mandolin, guitar and bass, the Colorado-based band Thunder and Rain sound as Golden as the town they hail from. There are plenty of opportunities to catch them across the UK and Ireland on their month-long tour, from Bangor to Basingstoke, Southport to Middlesbrough, and Edinburgh to Whitstable.

Ida Mae, 12 March, Norwich

With their Ethan Johns-produced album dropping this summer, it’s a good time to introduce yourself to Ida Mae, the husband-wife duo of Chris Turpin and Stephanie Jean. Their previous band, Kill it Kid, specialised in indie-grunge, but they’ve now created an altogether mellower sound that’s already proving hot property stateside. Having upped sticks from north London and moved to Nashville, this is a rare chance to catch them back in Turpin’s hometown. They’ll also play London’s Omeara before heading back to the US to tour with Blackberry Smoke.

I’m With Her, 19 March, Hackney Empire, London

The three artists in I’m With Her don’t like being called a supergroup. So let’s just say that the hot-damn are-you-serious this-is-too-much power trio of Aoife O’Donovan, Sara Watkins, and Sarah Jarosz stop off in London for a single night at the Hackney Empire before they embark on a European tour of Norway, Denmark, the Netherlands, and Spain. And if you’ve never heard them sing live, you need to get yourselves to this gig and find out just how many ways their vocals can break your heart.

Photo of Mile Twelve: David Green

The Songs of Nickel Creek’s ‘Reasons Why (The Very Best),’ Ranked

Posted on by Justin Hiltner

 

Ah, Nickel Creek. The originally-a-bluegrass band, almost-bluegrass band that defined and fostered an entire generation of young roots music fans. Their five album catalog is chock-full of incredible songs, but for our purposes we’re going to rank their greatest hits as released on their 2006 compilation album, Reasons Why (The Very Best). Let’s start at the bottom, just to stir the pot right off the bat.

14. “The Fox”

When your audiences eventually universally devolve into nothing better than a non-Newtonian fluid that aggressively shouts “THE FOOOOOOOOOX” incessantly, it’s time to maybe consider that a “hit” isn’t necessarily a good thing. And if you ever attended a Nickel Creek concert during their heyday and you weren’t one of the ones yelling, you probably came to that conclusion, too. The band certainly has. And that poor goose…

13. “The Lighthouse’s Tale”

Look, you knew it was next. If Chris Thile himself openly mocks the song onstage, perhaps it doesn’t deserve a higher slot. Personification of a lighthouse though. Groundbreaking. Or should we say, sand-breaking. (Too soon?)

12. “Somebody More Like You”

Just because Sean’s early 2000s, punk-esque vocal choices are somewhat… jarring.

11. “Helena”

This song doesn’t seem to have aged well… A man uses not one, but two women and he’s so goddamn flippant about it. Is that love?? Dang if it’s not a catchy song though. Number eleven feels right.

10. “Can’t Complain”

Another in the “As a teen I shouted along with the words from the bottom of my heart and now I take pause” category. “…Made her wanna die / But she can’t complain she can’t complain.” Can’t she!?

9. “Should’ve Known Better”

See numbers eleven and ten. They should’ve known better. HaHA!

8. “You Don’t Have to Move that Mountain”

A cover that was previously unreleased by the band, this one is neither lackluster nor exactly awe-inspiring. Solid, for sure, but eight feels like the right spot. Especially given its “hit” status being ascribed only by its inclusion on the album alone. Are we all good with this praxis? Great. (Check that Mark Schatz bass solo though, okay?)

7. “Out of the Woods”

So vibey and lush. Spooky and ethereal. Like the woods from a Bronté novel. It’s a good one, perfect for the middle of the pack.

6. “Reasons Why”

Why number six, you may ask? I have my reasons why: mainly the space-age neo-folk vocal arrangements, with those tight tight tight harmonies. Makes me want to shake fists at the sky!

5. “This Side”

“You dream of colors that have never been made” was perhaps the deepest, most profound line on the Grammy-winning album, This Side, by the opinion of this writer, who wore out the CD oh, almost two decades ago.

4. “Smoothie Song”

Not as good as “Scotch & Chocolate” or “Stumptown,” but still. A bop.

3. “When in Rome”

Asking the tough questions, one by one. A manifesto for teenage bluegrass fans exploring music on the fringes of the familiar. Also, stomping in puddles. When in Rome, after all…

2. “Jealous of the Moon”

Devastatingly melancholy, but with a hopeful message. Pure poetry. Just remember, you don’t need to call anyone to save you. The problem is simple: “There’s nothing you can do / If you’re too scared to try.”

1. “When You Come Back Down”

One reason we could count this as the number one song in and among Nickel Creek’s greatest hits is that IT ISN’T AVAILABLE ON SPOTIFY. Travesty. The true reason, though, is that this is unimpeachably the best of the trio’s greatest hits. Sure, it can read like a song ripe for overuse at high school graduations, but it’s beautiful, it’s simple, it’s straightforward, and it’s almost literally uplifting. Take every chance you dare.

The Bluegrass Situation Expands: Meet BGS-UK

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Think of the Union Chapel as London’s version of the Ryman Auditorium in Nashville.

An architectural wonder of a church, it still gathers a congregation for Sunday services. The rest of the week, however, it attracts worshippers of a different kind. The type who want to have a spiritual experience with Townes Van Zandt, Laura Marling, Father John Misty, The Civil Wars and Rosanne Cash.

In 2017, Sarah Jarosz sold out its 900 seats to a British fan base that knows her music well. “I don’t think I’ve ever sold out a venue as big as Union Chapel in the States,” she said at the time. “I’ve been blown away by the reception I get in England, Scotland and Ireland.” This year, she has already completed not one but two UK trips with Aoife O’Donovan and Sara Watkins, touring as I’m With Her. “I love coming here,” said O’Donovan. “We’ve made a home for ourselves here.” “You can actually see the growth,” added Jarosz.

This summer, the UK is awash with the diverse sounds of roots music. It’s as if everyone has suddenly woken up to the special relationship between the British folk scene and its American cousin. Major new festivals – like Black Deer in June, Maverick in July and The Long Road in September – are showcasing the powerful creative influence that Americana music is exerting on a new generation of British musicians: Jason Isbell and Passenger, Iron and Wine and Robert Vincent, Lee Ann Womack and The Shires.

Other fledgling festivals have begun bringing bluegrass and old-time to audiences that never knew they liked it before. In May, IBMA-award-winning Molly Tuttle wowed audiences at the Crossover Festival, which was started by a mother and daughter who wanted to hear and play the music they loved with their friends in Manchester. On the south coast of England, Beer and Bluegrass’s line-up includes The Hot Seats from Washington D.C., and Wesley Randolph Eader from Portland, Oregon, alongside some of the best bluegrass acts in Britain, including The Hot Rock Pilgrims and Midnight Skyracer.

Musicians who have toured the folk clubs of Britain and Ireland can attest to the strength of feeling that people there hold for the music of their native isles. And anyone who has encountered the Transatlantic Sessions, with Jerry Douglas and Aly Bain, has heard just how magical the bond that exists between the musical traditions of the old country and its American evolution. Celtic Connections in Glasgow has been fostering a creative exchange between artists on both sides of the Atlantic for decades, and the opportunities for future collaboration are limitless.

This July, Rhiannon Giddens will curate the Cambridge Folk Festival, an event which is always a highpoint of the summer calendar. Her program brings together women of colour from all over the US and the UK, including Amythyst Kiah, Kaia Kater and Yola Carter. “I love the UK folk scene,” Giddens says, “and I see audiences in the UK embracing the broad spectrum of what Americana really is even more so, sometimes, than in the US. A lot of people know the history of this music so well. I’ve always found a lot of acceptance here.”

So join our BGS-UK Facebook page, and join a community that’s excited to see where the music we love is going next. We’re excited about what’s happening across the pond right now and this is where you’ll be able to find out about all the gigs, artists, festivals and releases happening there. We’re ready for you, Britain!