Kris Kristofferson’s Most Human Moments

After passing away on September 28 at the age of 88, Kris Kristofferson has rightly been eulogized as a renaissance man without compare. It makes sense, since the colorful character’s legendary resume includes time as a Rhodes scholar, Golden Gloves boxer, U.S. Army Ranger, Golden Globe-winning actor, janitor at Columbia Studios, and helicopter pilot who once brought Johnny Cash a demo by landing on the superstar’s front lawn.

In fact, it was only after all of these accomplishments that Kristofferson became the icon we remember – a songwriter’s songwriter, and one of the most authentic and impactful artists to hit country and roots music since its development. Yet his longest-lasting gift to all of us may prove to be his humanity.

Emerging onto an American landscape just beginning to feel the pangs of decay – the “Sunday Morning Coming Down” of its post-war glory – Kristofferson’s work found beauty in even the ugliest moments life had to offer. He broke every mold of what a country star “should” be, choosing substance over style, embracing the unwanted, and cutting a trail for generations of artists to follow. Stunning empathy seemed to be his primary tool and as a man of many lives, he was well suited to put himself in the shoes of whatever characters he conjured up.

That deep well of human empathy might be the source of his gravity on camera and on stage. Maybe that’s why his songs came alive for the 450 other artists who covered them. But whatever it was, Kris Kristofferson accessed emotion and compassion without pretension. His humanity will live on now like a beacon, guiding others away from the shallow posturing of country songcraft and toward the authentic depths of the art.

In honor of his life, legacy, and impact, here are eight moments where Kris Kristofferson’s humanity shined bright.

“Help Me Make It Through the Night” on The Old Grey Whistle

After his debut album in 1970, Kristofferson made frequent TV appearances with duet partner and soon-to-be-wife Rita Coolidge – with one capturing his tender side especially well. Singing “Help Me Make It Through the Night” on the UK variety show The Old Grey Whistle in ‘72, Kristofferson and Coolidge were just a few months away from their marriage and seem enchanted with each other. Sharing a microphone and never more than a few inches apart, you can almost feel the sensual spark.

“Help Me Make It Through the Night” on The Muppet Show

Same song, different duet partner – and a totally different view of Kristofferson as an artist. Fast forwarding to 1978 and Season 3 of The Muppet Show, the respected singer-songwriter showed he was good sport by doing “Help Me Make It Through the Night” with none other than Miss Piggy. Clean shaven and re-creating the close proximity of the first clip, Kristofferson could barely hold back the laughs as he serenaded a swooning swine – then lost it completely as Miss Piggy broke into the chorus. Hopefully he and Kermit patched things up later.

“Sunday Morning Coming Down” on The Johnny Cash Christmas Special

Later in 1978, Kristofferson had the chance to perform alongside an idol and show his respect for the artist who had done more to popularize his work than any other. Joining Johnny Cash for the Man in Black’s yearly Christmas special, Kristofferson was left almost speechless as Cash introduced the vivid “Sunday Morning Coming Down,” which they then took turns singing. After Cash noted he’d been making the song his own for years, Kristofferson responds, “Up until now that was the proudest moment of my life. Now this may be the proudest.”

“Me and Bobby McGee” on Austin City Limits

Kristofferson appeared on Austin City Limits a few times, but in 1981 he had a hot band behind him and that led to a rollicking delivery of his biggest rock hit, “Me and Bobby McGee.” Made famous by the late Janis Joplin 10 years before, the freewheeling anthem put Kristofferson’s range – and a sense nostalgic joy – front and center. Although, there’s still a tinge of sadness embedded in the tone. From our perspective now, the iconic line “Freedom’s just another word for nothing left to lose,” is matched only by “I’d trade all my tomorrows for one single yesterday.”

“For the Good Times” with Tanya Tucker

Kristofferson always looked more comfortable in a flannel shirt than a black tie, but in the long run, that only made him more endearing. Joined by Tanya Tucker on a 1982 awards show, Kristofferson climbed into a tux and delivered the one-last-time anthem “For the Good Times” in classic pop style. Backed by an orchestral score and with Tucker taking the lead, it was a rare ballroom-country presentation of a song also recorded by Ray Price, Al Green, and more, which proved the Hollywood heartthrob would truly rather be hanging out with friends at the local dive.

“The Hot Dog Tree” with Pee Wee Herman

By 1988 Kristofferson had built up decades of acclaim as an actor, artist, songwriter – and as an international sex symbol. But he was never too big to have fun. Playing opposite Pee Wee Herman in the kid’s comedy Big Top Pee Wee, Kristofferson slipped into silliness with an easy charm. The iconic scene sees Pee Wee unveiling his top-secret Hot Dog Tree to Kristofferson, and the star’s initial skepticism – and then child-like awe – will brighten any day. Despite being held up as a talent of rare caliber, he never took himself too seriously.

Encouraging Sinéad O’Connor at Madison Square Garden

If you want to know about Kris Kristofferson’s character, look no further than what he did for Sinéad O’Connor at New York’s Madison Square Garden in October 1992. A few nights earlier, O’Connor had shocked the nation by protesting the Catholic Church’s still-under-wraps sex abuse scandal on Saturday Night Live, ripping up a photo of Pope John Paul II as cameras rolled.

When she then took the stage for Bob Dylan’s 30th anniversary concert, the crowd erupted in boos. As O’Connor stood there, unable to begin her performance through the rain of jeers, Kristofferson stepped beside her and spoke the famous words of encouragement, “Don’t let the bastards get you down.” He didn’t try to save her or get her off stage, or diminish her in any way – he just let her know she wasn’t alone. For her part, O’Connor went on to scream sing an a-capella rendition of “War” over the crowd, before staring them down as she left the stage. She said the moment created a lifelong appreciation for Kristofferson.

“Loving Her Was Easier (Than Anything I’ll Ever Do Again)” with Rosanne Cash at Willie Nelson’s 90th Birthday

Kris Kristofferson made his final public performance in 2023, appearing at the Hollywood Bowl in honor of his longtime friend Willie Nelson’s 90th birthday. The moment was filmed for a special airing on CBS and gave us one last moment with an icon.

After a shaky walk to the microphone, Kristofferson joined Rosanne Cash for an arm-in-arm rendition of “Loving Her Was Easier (Than Anything I’ll Ever Do Again),” a devastating ballad first released at the start of his career. Following Cash’s lead with a wide smile and a twinkle in his eye – one armed raised in triumph – Kristofferson soaked up the moment, while the rapt attention of the audience evolved into a thunderous applause. As Cash adapted the song’s hook to address Kristofferson himself, the whole world seemed to send him out on a high note:

Loving you was easier than anything I’ll ever do again


Photo Credit: Scott Newton, courtesy of New West Records.

Basic Folk: Ana Egge

Folk singer Ana Egge’s 13th album, Sharing in the Spirit, came out of the musician one song at a time. She didn’t even think about moving onto a new song before the writing and production of each song was complete. Working with her friend and collaborator Lorenzo Wolff, the songwriting process and music arrangement plan was to just work on a handful of songs. Their creative partnership manifested an entire record’s worth of indie folk, acoustic, and new folk music. The record includes eight originals and two covers: one by Biloxi songwriter Ted Hawkins and one by Irish musician Sinead O’Connor.

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Ana gives a huge songwriting credit to her dreams, which started getting more and more intense when she began her sobriety journey four years ago. Since then, she’s recorded her dreams, especially those with music segments and full songs, on her voice memos app. We go through the new album track by track, addressing themes in the songs like not sleeping through the revolution, the importance of telling the truth, feelings on mortality and how we’re gonna feel when Bob Dylan dies. Also: Ana was the VERY first guest on Basic Folk! I can’t go back and listen to myself four years ago, but I encourage you to check it out and then dive into her great new album.


Photo Credit: Lorenzo Wolff

Out Now: Joh Chase

This week, we’re excited to feature Joh Chase in Out Now. Joh is an artist from Seattle, Washington now rooted in Los Angeles, California. They’ve spent the past two decades developing their craft as a songwriter and performer and they’ve opened for artists like Noah Gunderson and David Bazan. Joh’s music steps outside the lines of any single genre and blends influences of blues, folk, pop, and indie rock.

Joh Chase’s brand new album, SOLO, was released today. It features diverse sounds, intimate lyrics, and an exploration of love, loss, self-discovery, and independence. Our conversation touches on why they create music, their greatest fear, and their process of self-funding tours and crowdfunding albums.

Why do you create music? What’s more satisfying to you, the process or the outcome?

I create music because I am lucky to have claimed music as something that I do. I just do music as much as humanly possible, because it makes me feel alive and helps me know who I am and how much I love the world and life and others. Both the outcome and the process are satisfying. The payoffs for showing up always feel rewarding, but the long game reward of gaining muscle memory around showing up when it feels like the last thing you wanna do, is its own kind of reward.

Do you create music primarily for yourself or for others?

I’m very “Oliver Sacks” about music. I unabashedly create music for selfish reasons – coping, pleasure, and connection. And then I love playing music for people or hearing the music of others because everyone has a “secret public song space” in their bodies and minds and they want to be there as much as possible.

Your songs cover a wide range of genres with traces of blues, pop, folk, and indie rock influences. How do you navigate genre diversity while maintaining a cohesive sound throughout the album?

I think the genre diversity and how that comes across in the different sounds is a reflection of the kinds of music I used to make and the sounds that have stuck with me throughout the years. Using the baritone saxophone, finding a way to express some soul music as well as some Americana licks amongst folky tunes indie folk/rock sounds are endemic to my musical expression. Over the years people have said, “Oh your voice would sound good singing… country, bluegrass, blues, soul…” and in this record I found a way to fit the genres to my voice, a bit. The surprising Flaming Lips-sounding party that is “Daniel” or the more jammy “Smoother” with its less Western sounding scale, are consequences of me feeling 100% happy with creating and releasing music that genre melds, as opposed to making sure I stay in some sort of shape, genre-wise.

The lead single, “Avalanche,” is both explosive and personal. What is the inspiration and significance of this track?

I honestly cannot remember the exactitude of where or when I wrote “Avalanche.” It was in the same set of songs as “Gone” when I first wrote it, but I can’t remember that session as well as I can remember the writing of “Gone.” The song centers itself around the powerful polarity of belonging and loss. Love is not just the “hot fire sex flame” of pop bangers, but also the unexpected mountain shelf of love that you didn’t know you had until it was gone.

This album, SOLO, reflects your do-it-yourself perspective as an artist. Could you share the challenges and rewards of self-funding tours and crowdfunding projects?

One of my favorite books that I was reading around the time that I decided to do the crowd funding that led to this record is the book Real Artists Don’t Starve. The book inspired me to go back to school while I was making this record. The record business is tough and very uncontrollable, but I will never stop making music. So it’s not a question of “do I want to keep making music”, but rather how and at which costs? I think some artists or bands are in a place where they feel comfortable sharing the financials of their music business with fans and some do not for many valid reasons. I feel comfortable sharing with my fans, I need $x to do this, will you help me make it happen. It’s much more acceptable now to have folks follow your Patreon or Substack or subscriptions than it was, so I feel grateful that there are things like Kickstarter and Patreon etc.

What would a “perfect day” look like for you?

Eating a Berliner from Black Forest Bakery in Los Feliz with my coffee, going home to the studio and making music or playing out with my band.

What’s your ideal vision for your future?

I’m sitting behind some tape machine or TEAC-2A, coming up with my next record and building more beautiful songs. I’m walking my dog and going to queer line dancing and the LA women’s soccer games with my city and then touring and meeting wonderful people and getting to play music for them. Definitely going back to Europe for more shows – I’d really love to do that.

What is your greatest fear?

My dog dying when I’m on tour.

What’s the best advice you’ve ever gotten?

Get pet insurance.

What is your current state of mind?

I’m so deeply excited about playing these new songs for people this year and for people to hear this record. I couldn’t sleep last night after doing my taxes, ’cause I was so buzzed from the band rehearsal.

Who are your favorite LGBTQ+ artists and bands?

Brittany Ann Tranbaugh. Brennan Wedl. Bitch. Melissa Ferrick. Perfume Genius. Hand Habits. Sasami. Rhett Madson. Rachel Mazer. Ryan Cassatta. Brittany Howard. Sinead O’Connor. Jonnie Reinhart. Hurray for the Riff Raff.

For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?

Willie Nelson’s “He Was A Friend of Mine” – I think struggling to come out of the closet or living in it or the aftermath of coming out revolves around loss of community and friendships. Nelson’s version of this song helps me still deal with some of the sadness around that loss. I was lucky enough to get sober and it was through the 12 step community that I met lovely, strong, vulnerable queers in LA who showed me the beauty and joy of what it’s like to be out and to be sturdy in your own way. I’m also spoiled with LA’s LGBT center – it’s an incredible organization with so many resources and events. Find the queers you want to be when you grow up. And then be the queer you want to be when you grow up.

What does it mean to you to be an LGBTQ+ musician?

I think it means that my music gets to be a safe LGBTQ+ place. That my shows and my music centers the queer experience.

What are your release and touring plans for the next year?

After touring this summer to promote the record on the West Coast, I’ll head east later in the year and jump into some Folk Alliance conferences. No release plans on the radar yet after SOLO.

How do you find a balance between the business and artistic aspects involved in your career as a musician?

I honestly don’t totally know. It’s intuitive and chaotic and intentional and has been part of my personality or my way of life for so long, now, that I don’t know if I can pinpoint one precise center of gravity. I have to protect my creative time, nurture my playfulness in life, let myself ditch friends or ditch overworking or ditch over-cleaning to let those creative moments remind me of who I am. I am lucky to have a manager, a team at Kill Rock Stars and friends who support me and my music. Inside of community, the glaring nature of the music industry is dulled out quite a bit.


Photo Credit: Shervin Lainez

16 Summer Reads: New Books by Brandi Carlile, Mary Gauthier, and More

My summer essentials list is pretty simple: A ball cap and sunscreen for a hike, driving directions and a trail map for a day trip, and more than a few reading options for the couch that’s inevitably waiting for me at the end of a long hot summer day. Gathering together all the new memoirs and taking some tips from my BGS colleagues, here are 16 top tomes to get us all — even the kids — through this sweltering season of 2021.

Rob Bowman, The Last Soul Company: The Malaco Records Story

Generous in its photography and its scope, this overview of Malaco Records explains how a pioneering independent label founded in 1962 brought a wealth of African American music to the world via artists like Mississippi Fred McDowell, Bobby Blue Bland, Z.Z. Hill, Johnnie Taylor, Little Milton, and James Cleveland.


Brandi Carlile, Broken Horses

This memoir satisfies the longtime fans who will learn what inspired the songs from her early albums, yet it’s also a candid and conversational statement about what it’s like to be a queer woman in roots music today. The cast of characters is charming, too, particularly her exchanges with Elton John and Joni Mitchell.


Brent Cobb, Little Stuff

Country tunesmith Brent Cobb has said he writes every album with his kids in mind, so transforming the song “Little Stuff” into a children’s book came naturally. But how many children’s books get their own music video? Whether you read it or watch it, the Georgia musician’s homespun wisdom shines through.


Robert Owen Gardner, The Portable Community: Place and Displacement in Bluegrass Festival Life

This scholarly look at bluegrass festival culture in the American West comes from sociology professor Robert Owen Gardner. It’s also an examination of how arts and music grapple with social and environmental change. A digital version of the academic textbook allows more room in the backpack for sunscreen and guitar strings.


Mary Gauthier, Saved by a Song: The Art and Healing Power of Songwriting

More of a memoir than an instruction manual, Mary Gauthier tells the stories behind original songs like “Mercy Now” while leaving the mystical and magical aura of writing them intact. By sharing her intimate conversations and co-writing experiences, she offers both a creative and compassionate point of view.


Howard Grimes with Preston Lauterbach, Timekeeper

Known as Bulldog, Memphis drummer Howard Grimes has propelled R&B classics like Al Green’s “Let’s Stay Together” and Ann Peebles’ “I Can’t Stand the Rain.” In this autobiography, he also explains how he wound up homeless for a time and how he’s been guided by the Bible. Fans of Stax and Hi Records won’t want to miss this one.


Chris Hillman, Time Between: My Life as a Byrd, Burrito Brother, and Beyond

You can’t tell the story of country rock without Chris Hillman. Time Between entered its second printing earlier this year, proving there’s still a curiosity about near-mythical bands like The Byrds and the Flying Burrito Brothers. Start at page one and turn, turn, turn to the get the whole story from this prolific Rock and Roll Hall of Famer.


Johnnyswim, Home Sweet Road: Finding Love, Making Music & Building a Life One City at a Time.

The ever-endearing Johnnyswim found an even larger following when Chip and Joanna Gaines chose the duo’s anthem “Home” as the theme to Fixer Upper. Now, Amanda Sudano-Ramirez and Abner Ramirez give fans a deep dive into their own family life with Home Sweet Road, their debut book brimming with photos, recipes, stories, and poetry.


Kimberly Mack, Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White

The story of Robert Johnson selling his soul to the devil isn’t the only larger-than-life narrative in blues music. A scholar of African American literature and American popular music at The University of Toledo, Mack writes about how similar self-made personas resist racial, social, economic and gendered oppression.


Richard Marx, Stories to Tell: A Memoir

A late ’80s pop star whose catalog still holds up, Marx writes about his life and career, including a few interactions with era-defining figures like Olivia Newton-John and Kenny Rogers. He also gives his candid perspective of what the music industry is really like. By the way, can’t you totally hear Alison Krauss covering “Right Here Waiting“?


Willie Nelson with Turk Pipkin, Willie Nelson’s Letters to America

At 88 years old, Willie Nelson is a living legend with a modern point of view. Yet, rather than ranting on social media, he’s channeled his thoughts into a series of letters, even writing one to Texas and another to marijuana. With his classic lyrics reprinted alongside these letters, the book captures his conversational charisma.


Sinéad O’Connor, Rememberings

This Irish artist made an iconic music video by tearfully emoting into the lens, but there is much more to her story than “Nothing Compares 2U” and her infamous appearance on SNL. As The Guardian notes, “O’Connor also doesn’t need a ghost writer because she has, throughout all of it, rarely been at a loss for what to say.”


Sarit Packer and Itamar Srulovlich, Honey & Co: Chasing Smoke: Cooking Over Fire Around the Levant

In this cookbook and travelogue, the founders of London restaurant Honey & Co. are seeking out savory smoke flavors in Egypt, Jordan, Israel, Turkey, and Greece. And it’s not just grilled meat! Fruits, vegetables, breads and “Unmissables” are make their way into these pages, too. Find out more about the authors on BGS’s The Shift List.


Kim Ruehl, A Singing Army: Zilphia Horton and the Highlander Folk School

An activist and song collector, Zilphia Horton finally gets her due. Ruehl (also a BGS contributor) explains how Horton adapted folk music and hymns for empowerment and social causes, with “We Shall Overcome” as just one example. Considering the school’s ties to civil rights, this piece of Tennessee history merits the attention.


Bobby Rush with Herb Powell, I Ain’t Studdin’ Ya: My American Blues Story

A favorite on the blues scene since the 1950s, Bobby Rush remains a beloved figure in the genre, winning his second Grammy for Best Traditional Blues Album earlier this year. A well-traveled entertainer at age 87, this memoir follows his remarkable life journey from Louisiana to Arkansas, on to Chicago and ultimately the Blues Hall of Fame.


Paul Simon, The 59th Street Bridge Song (Feelin’ Groovy): A Children’s Picture Book

If you gotta make the morning last with little ones around, try this imaginative picture book. With song lyrics from the 1966 Simon & Garfunkel classic and vivid illustrations by Keith Henry Brown, the 24-page book captures the small details of city life by following a bunny on a bicycle — how groovy is that?