Although the ever-enigmatic Sam Moss is not a great swimmer, he named his latest album Swimming. The folk singer with a gentle demeanor is back with thoughtful songs and captivating melodies. Hailing from New England, Sam has carved out a unique niche in the folk world, blending naturalistic themes with an introspective approach to songwriting. We explore how his New England roots continue to influence his music – despite his current residence being Virginia – and how his upbringing in a family of visual artists has shaped his artistic sensibilities.
Sam also talks about how movement and the natural world inspire his songwriting, if not with more oblique lyrics. We dig into his latest album Swimming, where he boldly embraces more direct lyrical expressions; we discuss the balance between mood and narrative in his work, too. Our Basic Folk conversation touches on his journey from a shy young musician to a confident performer, as well, thanks in part to the encouragement of close friends like Jackson Emmer. He counts Emmer, who he played with in old-time duo The Howling Kettles, as one of his greatest inspirations for following his own creative arrow in music.
Elsewhere in the episode, we explore Sam’s passion for woodworking, a skill he honed as a respite from musical burnout. He describes the satisfaction of crafting tangible objects and how this practice complements his musical endeavors. We also really dive into his feelings around the word “gentle,” which is often used to describe his music and persona. He doesn’t actually mind being known as a gentle person– in fact, he hopes people do find his music soft and tender and, in that gentleness, that they still leave feeling his songs’ striking impact.
Photo Credit: Lead image by Jake Xerxes Fussell; alternate image by Alaina Shefelton.
Husband-and-wife indie-folk duo Drew & Ellie Holcomb have been making music together for 20 years. Ellie was a member of Drew Holcomb & the Neighbors when they first collaborated on a record in 2005 (now out of print). That was followed by 2007’s A Million Miles Away, which was then succeeded by something like their breakout, Passenger Seat, in 2008.
Over the years since, they’ve built up the Neighbors – and their cohort of friends, neighbors, fans, and listeners – into a more than tidy little paradise of a musical cul-de-sac, with more than a dozen releases (together and separately) and amassing more than a hundred million streams.
This year, the pair put out their first full-length duo album together, as equal fronting artists with the Neighbors behind them. Memory Bank, released on January 24, looks forward while looking back – a hallmark and through line of the duo, their group, and their creative output across their two-decade career. So many of the songs on Memory Bank seem to speak to the longevity they have – “Rain or Shine,” “Shut Up and Dance,” “Never Gonna Let You Go,” “Bones” – there’s a wisdom and perspective in this album that speaks to the distance they’ve traveled together. As well as denoting the upcoming miles they have yet to cover as partners, parents, and musical collaborators.
With the release of Memory Bank, we thought it was the perfect opportunity to stroll down memory lane with Drew & Ellie Holcomb, to contrast their latest project and the artists they have become now with their early projects and the artists they were then, in our most recent edition of First & Latest.
I wonder, as you put together this Memory Bank, what memories from 2008 and that first album came up for you? How did that nearly 20-year history of making music filter into this project and its songs?
Drew Holcomb: Honestly, Passenger Seat was not even the first project. There was a record in 2005 called Washed in Blue that Ellie sang on that has been scrubbed from the internet. We put on an album called A Million Miles Away in 2007, which had a bunch of songs like “I Like to Be with Me When I’m With You” and “Hung the Moon” and others. I think the younger version of us was much less confident, in a way. We were flying blind. We hadn’t made a lot of records yet and you don’t know what you’re doing in the studio. We didn’t know what we were doing as songwriters. Ellie was just a member of the band at the time.
Ellie Holcomb: I was a neighbor with benefits. The starkest difference for me between Passenger Seat in 2008 and Memory Bank in 2025 is an open-handedness and a freedom that comes with the death of ego and also with a general posture of curiosity and gratitude.
You are both prolific creators – together and separately – how have you balanced your individual musical identities with your collective work over that time period? Do you find it to be an easy balance or a tricky one?
EH: One of my favorite things about us doing music both together and separately is that there’s a massive amount of respect for each other. The reason it took us 20 years to write and record an album together is because we’ve always honored that artistic and creative space with each other. We write really differently, we create really differently. I think that mutual respect and space that we’ve given each other made space for us to make what we we’ve released into the world now – and I love it.
DH: My only addition is a short answer: No, it’s not an easy balance. It’s very tricky, but it’s worth it.
I think our relationship definitely manifests itself through the music. I think on the one hand, there’s like the aspiration – love songs are often about the love that you hope that you have. So, when you’re young and you’re speaking about when you get older, you’re making a promise to yourself and to each other about the kind of love you hope for. There’s also a bit of the truths of your own personalities make it into songs.
There’s clearly a mission and a message in your music, and I think that’s part of your staying power as artists and part of why over so many releases in so many iterations – as a couple, with the Neighbors, as solo artists, as collaborators on outside projects – your songs continue to resonate with audiences in such an authentic and down to earth way. I wonder how much of that encouragement folks get from your music that you get, yourselves? I can see that being a big part of how you’ve gotten this far and are still moving forward.
EH: I’d say we talk to our kids a lot about what a stage is for and we always tell them that a stage is to bring joy. It’s a shared space where our stories mingle together. Music is a bridge builder. Our mission, if you will, with music is that it would help people connect to their own story and that it would help people connect to everybody else and feel a little less alone. There’s this beautiful quote that says we decorate space with art and we use music to decorate time. We feel so deeply grateful that people have used our songs to decorate like the time and the seasons of their lives, sorrow, joy, road trips, family gatherings, etc.
What will you take with you in your “memory bank” as you move forward, as you stare down the next 17 years of making music together? What do you see as your touchstones – or, alternatively, what do you hope you’ll look back and recall if we were to have this conversation again in 20 more years?
DH: Our memory bank as we move forward in the next 17 years of making music together, we are always trying to keep growing. I didn’t know how to sing harmony until this record. I learned how to sing harmony, not with the intention of making a record, but because I wanted to learn. Ellie’s learning piano with similar intentions. There are always new songs to find.
When you were making and releasing Passenger Seat, where did you see yourself now, all these years later? Was this always the goal? Did it seem like a pipe dream that you’d still be doing this together? Or was it inevitable?
DH: Music was definitely not inevitable. When I started making music, Ellie was a school teacher with no intention of being a professional musician. So we have just taken it a year at a time.
Welcome to the first of four live episodes of Only Vans from the MusicFest at Steamboat 2025. Two of my inspirations and great friends, Max & Heather Stalling, helped us kick things off. We get into many topics such as ex-husbands, cassette collections, mortal vs. immortal musicians, skinny dipping – and they even perform a few live songs.
Max and Heather Stalling are a staple of our music scene and these lovebirds are my favorite, you can tell. Heather is an accomplished singer-songwriter, incredible fiddle player, and I love that we had the opportunity for them to play three songs together live at our very first hour-long Musicfest podcast taping up in Steamboat Springs, Colorado, in front of a live (and rather large) audience!
Max is a Texas A&M Aggie graduate, but we don’t hold that against him, because he has multiple amazing records out. Heather’s project, Blacktop Gypsy, is awesome and also available wherever you get your music. On this Only Vans episode, Heather makes me cry with a lovely impromptu monologue that I will cherish forever and, after joking that I never go to the late night jams in Steamboat at MusicFest, I did in fact attend an epic jam this year with Max, Heather, the Braun Brothers, and many more.
We joke about drinking a lot of wine and I outed Paul on a hangover after our hilarious “marriage” story, sorry! I also talk about the Sequestered Songwriters, which is something that Courtney Patton and Jason Eady started over COVID and that really helped a lot of us get out to a really large audience. If you have not checked out the Sequestered Songwriters videos on Facebook, I think they’re all still up there. A lot of people have told me [those videos] really got them through COVID and that was a way for us all to keep in touch with one another and learn some new tunes.
Thanks again to Dirt Trail Entertainment for sponsoring our MusicFest episodes. And thanks to our show sponsors, Hand Drawn Pressing & CH Lonestar Promo!
Happy Friday! We’ve got another excellent premiere round-up for you to finish out your week with a roots music high note.
Check out brand new tracks like “Heartless” from singer-songwriter Dustin Brown. It’s a song about finding redemption in self-doubt in an alt-country meets Americana package. Plus, North Carolina bluegrass outfit Unspoken Tradition pay tribute to Acoustic Syndicate and Steve McMurry with their new cover of “Katie and Burl.”
Just in time for Valentine’s Day next week, Nick Taylor debuts his video for “Lover’s Dream,” a lovely number built around tender fingerpicking that came to Taylor in the middle of the pitch-dark night. We’ve also got a honky-tonkin’ music video from Portland, Oregon’s Ashleigh Flynn & the Riveters. Their new track, “Drunk in Ojai,” retells a story of too much tequila and an unlikely guardian angel named Dutch.
You won’t want to miss “With a Vamp In the Middle,” a brand new single from Jason Carter & Michael Cleveland from their just announced debut duo album (due in March) that premiered on BGS earlier this week.
It’s all right here on BGS. Scroll now to find all these songs and more, because You Gotta Hear This!
Dustin Brown, “Heartless”
Artist:Dustin Brown Hometown: Moody, Texas Song: “Heartless” Album:Dustin Brown Release Date: March 28, 2025 (album)
In Their Words: “Everyone comes into this life clean, unmarked, and full of love. Unfortunately, on the other end, some come out dirty, marred, and heartless. This song comes from a place of resolve, in accepting that at times you must be a little crazy especially when dealing with folks that suffer from a heartless nature. I suppose it’s a redemption song about self-doubt and how powerful of a driving force that can be in life and love.” – Dustin Brown
Track Credits: Dustin Brown – Lead vocal, songwriting, guitar Rachel Cole – Backing vocals Joel Allan – Lead guitar Christopher Smith – Drums James Bartosh – Bass
Carter & Cleveland, “With a Vamp In the Middle” (Live at the Grand Ole Opry)
Artist:Jason Carter & Michael Cleveland Hometown: Nashville, Tennessee and Charlestown, Indiana Song: “With A Vamp In The Middle” Album:Carter & Cleveland Release Date: February 5, 2025 (single); March 14, 2025 (album) Label: Fiddle Man Records
In Their Words: “This song has always felt like a national anthem for fiddle players and it’s our tribute to the legendary John Hartford and Vassar Clements. It’s long been a favorite for Michael and me to jam on – perfect for twin fiddles and a blast to improvise and trade licks on. Having Darrell Scott’s harmony vocals on [the studio version of] this track was an absolute honor, and his contribution took it to another level. I hope y’all enjoy it!” – Jason Carter
Artist:Ashleigh Flynn & The Riveters Hometown: Portland, Oregon Song: “Drunk in Ojai” Album:Good Morning Sunshine Release Date: April 4, 2025 (album) Label: Blackbird Record Label
In Their Words: “This song wrote itself – it’s a true story! Nearly a decade ago, I crashed Nancy’s (record producer) wedding with our mutual friend who had introduced me to her. I had played a solo gig the night before at the Deer Lodge in Ojai. After the show, the owner at the time was losing his mind (in a good way) because the entire cast of Mad Men had just shown up for dinner – likely to celebrate the show wrap. He came up to my friend and me, and invited us to the bar, as we all marveled at ‘Don Draper and Co.’ filing into the back banquet room.
“The owner proceeded to offer us a taste of nearly every tequila at the bar after which he pointed us toward the late-night hang, ‘The Cantina,’ where, for better or worse, we continued to imbibe tequila. As the night wound down, we opted not to drive ourselves back to the hotel, because we were clearly too tipsy. We asked the Cantina bartender for taxi suggestions and she handed us a card that simply said ‘Dutch’ and included a number… We called the number, and minutes later an off-white Bronco with ‘Ojai Fire and Rescue’ painted in red across the doors pulled up. ‘You gals called for a ride?’
“When I got to the wedding the next day, a friend there asked, ‘So what did you do last night?’ I said, ‘I got drunk in Ojai. I didn’t know where I was. Caught a ride from the fire and rescue; the driver’s name was Dutch.’ That friend literally sang that line back to me and that was that – took five minutes to finish it as soon as I got my hands on a guitar. The band adds, ‘We are grateful to Dutch for getting us home safely.'” – Ashleigh Flynn
Track Credits: Ashleigh Flynn – Lead vocal, acoustic guitar Nancy Luca – Electric guitar Carmen Paradise – Bass Leila Chieko – Drums Kat Fountain – Harmonica Kathryn Claire – Harmony vocals, violin Jenny Conlee – Piano, organ
Video Credits: Art direction, animation by Lupo Studio. Videography, editing by Polly Lisicak, Cai Indermaur. Special thanks to the staff of Laurelthirst Pub and Music Portland/EchoFund.
Nick Taylor, “Lover’s Dream”
Artist:Nick Taylor Hometown: Austin, Texas Song: “Lover’s Dream” Release Date: February 14, 2025
In Their Words: “I wrote ‘Lover’s Dream’ in the early days of a relationship. I was living in a first-floor apartment that was basically a cave and came home one night with a song in my head. I sat down in the dark and played the song all the way through without stopping. When I woke up in the morning I realized I hadn’t written any of it down, so I got to work trying to reconstruct what I could remember. I still have no idea what how similar this version is to what I played that night, but I have been waiting a long time to release it out into the world as a single.
“We recorded this one in Nashville, just me and my guitar in the studio with Bryce, the recording engineer. We set up in the middle of the biggest room and it felt just like the first time I played it, quiet and still. The song is mostly stream of consciousness, reflecting on my own faults while declaring a true and lasting love – which is any lover’s dream I think, to be accepted and loved with all their imperfections.” – Nick Taylor
Video Credits: Produced by Charlotte Avenue Entertainment. Shot by Dominick Sotis and Hayden Westberry. Color Grading by Color Sync Visuals.
Unspoken Tradition, “Katie and Burl”
Artist:Unspoken Tradition Hometown: Cherryville, North Carolina Song: “Katie and Burl” Release Date: February 7, 2025 Label: Mountain Home Music Company
In Their Words: “When I was a kid, probably 11 or 12 years old, there was a local music venue called Leatherwoods in Shelby, North Carolina. It was in the back of this old comic book store and there was a door in the back that opened into a listening room. Acoustic Syndicate used to play there all the time. My dad knew the McMurry boys and fished with Steve some when I was a kid, so we went to Leatherwoods every time they played there. Steve wrote ‘Katie and Burl’ for their first album and this was about the time I got my first guitar. I learned several songs on that album and ‘Katie and Burl’ was one of them. I was so honored that Steve was willing to come sing a verse on our version of his own song!
“I’ve always been drawn to songs that have a sweet but sorrowful sense of loss. It’s a song about two young people against the world, experiencing joy and sadness along the way. Symbolically, Burl the farmer returns ‘to the earth where he came from’ and today he wouldn’t understand the farm he once owned as it’s been repurposed for modern men. In fact, when I wrote ‘Land‘ back in 2016, the themes of ‘Katie and Burl’ served as inspiration: that our existence here is both meaningful and insignificant in the grand scheme of things.” – Audie McGinnis
Track Credits: Audie McGinnis – Acoustic, lead vocals; Steve McMurry – Guest vocals Sav Sankaran – Bass, vocals Tim Gardner – Fiddle Zane McGinnis – Banjo Ty Gilpin – Mandolin
Photo Credit: Ashleigh Flynn by Christine Lupo; Jason Carter & Michael Cleveland by Sam Wiseman.
Anna B Savage is down-to-earth and witchy as hell at the same time. Over her three albums, she’s cultivated a mesmerizing sound and epic image – like David Bowie, Björk, Kate Bush, etc. – that’s gained her a godlike reputation. A reputation which preceded the actual human being behind the art, leaving some to wonder what it would be like to speak to her. Turns out, she’s a grounded, kind of goofy, and perfectly normal person. In our Basic Folk conversation, we explore the duality of her persona – Anna Savage versus her stage name of Anna B Savage – and how her new album, You & i are Earth, reflects a blending of these identities with a focus on nature and love.
In this episode, Anna reflects on the realization of her parents’ unusual musical paths (they are both opera singers) and how it influenced her own creative pursuits. We delve into her songwriting journey, her love for birds, and the evolution of her unique singing voice, which blends classical influences with a jazz singer’s sensibility. Anna also opens up about her stage fright and the progression of her confidence as a performer. She touches on the complexities of being an English person living in Ireland and the importance of understanding the historical context of her new home.
As we navigate the themes of You & i are Earth, Anna reveals the inspiration behind the track “Agnes” and the mysterious allure of the 17th-century plate that inspired the album’s title. With a lighthearted lightning round, we learn about her favorite birthday tea, her ideal stage outfit, and her witchiest recent activity, too.
Artist: Crys Matthews Hometown: Nashville, Tennessee Latest Album: Reclamation Personal Nicknames (or rejected band names): Papa Bear to my future-wife, Uncle Bear to our youngest nieces, and just Bear to my chosen nephew, River.
What’s the toughest time you ever had writing a song?
Without question, the song that took me a while to get ‘right’ is my song “Suit and Tie.” This song was written in response to the drag ban being rolled out in Tennessee. Nashville is my home now, so having a front-row seat to the fallout from that bill definitely weighed on my heart. [The ban] was intentionally loosely worded so that law enforcement could have cause to harangue anyone who they saw fit, even a singer-songwriter like me who happens to dress in suits and ties more often than not.
Gender and gender expression are both deeply, deeply personal – they are nobody’s business and certainly not our government’s business. As a social justice songwriter, I take tremendous care to avoid “speaking for someone” or inadvertently appropriating something that I only meant to appreciate. In “Suit and Tie,” only one of the verses is about me directly and offers my perspective as a Butch-identified lesbian who has been wearing clothes that bucked the patriarchy since I was four years old. The other verses are about a nonbinary person, a femme-identified gay man, and a trans woman.
My friend Holly [Near] once called my songs “truth-telling journalism,” which I took as a badge of honor. The notion of being a faithful steward of the truth means a lot to a PK (preacher’s kid) like me, and so it took me about seven drafts before I felt like I had done that with this song.
If you had to write a mission statement for your career, what would it be?
My mission statement is: To amplify the voices of the unheard, to shed light on the unseen, and to be a steadfast reminder that hope and love are the truest pathways to equity and justice.
What has been the best advice you’ve received in your career so far?
Unsurprisingly, so much of the best advice I have received during my time on this planet is from my mother. One gem in particular that has seemed more and more profound is, “Babygirl, you better remember whose you are, so you don’t forget who you are.” It was (and still is) her way of reminding me that this industry and this world can try everything in its power to try to change the things about you that make you special, those things that, so often, are the very things that drew them to you in the first place.
You have to be steadfast and secure in who you are at your core. You have to remember your ancestors and your community and the people who knew and loved you before anybody who thought they could help you ‘make it big’ even knew your name. That advice from her is why I have managed to have an actual career that centers my ideals and values. And I think it is why the people in my corner seems to also reflect that ideals and values.
Does pineapple really belong on pizza?
Absolutely not! I keep telling my future-wife that, but she keeps insisting that I’m wrong.
What is a genre, album, artist, musician, or song that you adore that would surprise people?
Tchaikovsky’s “1812 Overture” – before I realized I could write songs, I was fairly certain that I was going to be a high school band director. I have a deep love for classical music. I can conduct the 1812 like nobody’s business!
I know some musicians hope they get famous enough to sing the National Anthem at a Super Bowl or play at the GRAMMYs, but I’m just hoping that I get to conduct the 1812 with a philharmonic at least once before I die.
It’s a simple sounding question, one that invites discussion about structure, melody, production techniques and more (and certainly has no real answer). It’s also something Humbird explores on her transcendent new record, Astrovan: The Love Song Vignettes, which follows last year’s critically acclaimed Humbird LP, Right On.
Written before the pandemic, the 11-song project spans just 16 minutes, but is expansive in its vision and emotional depth, as principal Siri Undlin muses on love in its many forms using varied musical styles. The resulting album is especially meditative when enjoyed in one sitting and invites listeners to consider how love is present in their own lives, whether in the beauty of nature or in small, domestic gestures from loved ones.
Below, BGS caught up with Undlin to chat about making Astrovan, finding beauty in mundane moments and how creative restrictions can often lead to happy artistic accidents.
This new project is such a cool idea with these short vignettes. I’d love to hear a little bit about the project’s beginnings and how that idea came to you?
Siri Undlin: It started off very much not an album. I was struggling to write and struggling to feel inspired. A friend of mine was like, “Why don’t you write simple, short songs and not worry about if they’re good or not?” I had recently fallen in love, so I was trying to write some love songs that weren’t super annoying. I was like, “Maybe short is the way.” So, yeah, it was just a goofy project that I sometimes did at live shows, because it’s funny.
People usually get a kick out of it and it’s fun to talk on stage about what a song is, like, “Why do we expect it to be a certain length?” It’s a fun, intimate audience moment. But then, a couple of friends who are really talented producers and engineers were at a show and they were like, “What the heck? You should definitely record these.” Those pals were Brian Joseph and Shane Leonard, so the three of us recorded them. This was all back in 2019, so it was also a while ago.
So, you’ve been sitting on those for a little while. What made it feel like the right time to put them out as a full album?
They were just weird enough that I was not quite sure what to do with them. Back in 2019, we were very much a DIY band. I was booking most of the tours. We were self-managed, putting out albums independently. So, it was just this one-woman shop. I honestly didn’t have time. I don’t want to release music unless I can do a good job and be proud of really putting my whole heart behind releasing it. It took a while, but I feel like, in the last year, it was like, “Oh, you should come out.” They’ve been waiting for a while, and now I have the bandwidth thanks to some folks helping me out behind the scenes. I’m also more confident as an artist. We’ve been a band for longer, and we’ve put out other music. So, I felt like, “Okay, if [fans] are into what we’re doing, they have an idea of this project’s personality and we can throw this strange project at them.”
I love how know each song is a love song, but you’re you’re covering lots of different types of love. It’s not just your standard, romantic love – there’s love for nature and plants and for mundane-seeming gestures like leaving food out for someone who’s coming home late. It’s a very expansive vision of love.
I know that in my personal life, sometimes those [mundane] moments are the most loving. Sometimes in love songs, on a broader scale, we get high drama and high stakes. But I love the little, ordinary moments that, when you put them in a song, feel really magical.
It’s a rewarding experience to sit and listen to the record start-to-finish. It feels very meditative, in a way. What was your time recording like? A few moments ago, you mentioned thinking about what makes a song a “song,” and what a song is allowed to be. How did that play out while you brought these songs to life?
In my memory, it was a pretty quick, moving process. I think we did the initial tracking in maybe four days and then we did some overdubs a handful of other days, maybe half a year later. And because the songs are so short, it was like, “Okay, how can we make these feel fully realized in such a short period of time and still take risks and have various arrangement choices that are engaging?”
It has to happen in such a condensed period. It was a great challenge: take your ideas but make them as compact and meaningful as possible because you only have a few seconds. Now that it’s out in the world, people are like, “I wish this song was just a normal length. It’s so sad when it’s over.” But I felt like we had to stick to the premise. Some of the songs could go way longer, sure, but it’s fun to keep it short and sweet.
What did you take away from that experience? It seems like it would be instructive to have to work with those restrictions and to learn how to cram so much meaning into a minute’s worth of music.
The biggest takeaway was that you can do it. You can have an emotionally resonant song in 45 seconds or one minute if you’re really determined. Going forward with recordings that came after it made me a better listener and a better editor of my own work, because when you have to be so cutthroat during the editing and arranging processes, you’ve flexed that muscle. I think it strengthens the writing and arrangements going forward because it was sort of a, “Do we absolutely need this or not?” question. That’s how I prefer to move through music recording: throw it all at the wall and then pare it back and have something you’re really proud of.
I’m surprised to hear that these songs were written so long ago, as I had noticed some musical and thematic connection points between Astrovan and Right On and assumed that Right On played an influential role. Do you feel a connection there, too?
I think you’re hearing it just right. But the truth is that Astrovan led to Right On. Astrovan has some folky, almost country music moments. But then there are also some rockers. Those are, to be honest, some of the first times in the studio where I was like, “Dang, rock and roll is fun to play.” It’s so fun to turn up the amp and use a distortion pedal and just have fun. It’s really cathartic, and those songs were only a minute. So then, when I picked up the guitar again later on to write songs for Right On, I think in the back of my mind I was like, “I want to do more of that fun, loud, more abrasive stuff.” And that definitely informed choices for Right On.
Speaking of Right On, that’s been such a big record for you. And now that we’ve hit 2025, it’s been out for the better part of a year. When you reflect on the year you had in 2024, what comes to mind?
One really cool thing that I didn’t anticipate was a level of confidence that me and my bandmates were able to sink into with the Right On album. We put our whole hearts into making it. It was so fun to record and it’s so fun to play live. As a result of performing it all year, we’ve just gotten better at performing. I think we all really stand behind what we do on stage and in a music ecosystem that’s so confusing and hard to know. But when you can get on stage with people you love and play music that you’re proud of and you’re excited to share with people, that is the best feeling ever.
I feel like that was what a lot of our year was about. We love playing this music. We’re stoked to share it with you. And we’re not getting too caught up in all of the other elements that swirl around with making music your livelihood. Not that those factors aren’t there, but ultimately, the year was about this record that we were proud of. So, that feels great.
You have some festival dates on the books for this year. Do you have any plans to tour, too?
We’re a band that definitely hits the road, historically, and that’s the plan for 2025, as well. We were all upper Midwest kids, so we also hibernate hard. But when the snow thaws, we’ll be out there, and I think it’ll be pretty consistent throughout the year. That’s where we’re at right now as a band and we’re soaking it up because it’s a good chapter to be in.
Where did the first month of 2025 go!? Wherever it went, we’ve got an excellent batch of premieres for your final New Music Friday of January.
Below, check out brand new music and performance videos like Amanda Bjorn’s “Until We Become Earth,” a song about searching for yourself set to a gorgeously warm and retro video shot on film. Pitney Meyer (a duo of longtime country and bluegrass pals, John Meyer and Mo Pitney) bring a live performance of their new single, “Bear Creek Clay,” as well.
Bluegrass mainstays Lonesome River Band bring back a Jimmy Yeary song that Sammy Shelor turned into a classic, “I’m On To You,” with the full LRB on this new rendition. Plus, Dave Murphy calls on Mark Erelli for his new number, “Planet of Pain II,” a sequel to the original “Planet of Pain” from his 1998 album, Under the Lights.
Elsewhere, don’t miss Joshua Finsel’s “Before the Snow,” about through hiking the Appalachian Trail and cresting Mount Katahdin in Maine before wintertime hits. And, Lily Talmers celebrates release day for her new album, It’s Cyclical, Missing You, by bringing us that project’s lush and deep folky title track.
It’s all right here on BGS – we’ve said it before, we’ll say it again: You Gotta Hear This!
Amanda Bjorn, “Until We Become Earth”
Artist:Amanda Bjorn Hometown: Los Angeles, California and Spain Song: “Until We Become Earth” Album:That Kind of Woman Release Date: January 24, 2025 (single)
In Their Words: “‘Until We Become Earth’ is the first single off my upcoming debut album, That Kind of Woman, which is set to release in April 2025. A blend of blues and folk with a bit of Americana, the new album reads like a diary touching on major changes in my life – balancing motherhood with artistry, finding and losing myself within relationships, postpartum mental health, and the transformation that happens from living abroad and returning home.
“The song was written in a School of Song workshop with one of my favorite songwriters, Adrianne Lenker, exactly one year ago. Without ruining it, the song is about that search for self-identity within a relationship, the vulnerability of building your own voice, and the risk it takes to keep expanding.
“With the help of my old friend, producer Aaron Stern, I recorded the album this past summer in Los Angeles at Verdugo Sound. With the help of some very talented musicians, we performed live together in the same room for most of the album, our aim was to capture the magic of improvisation and the authentic energy that arises from truly listening and connecting, free from a click track.” – Amanda Bjorn
Video Credits: Filmed by Giacomo Gex; color by Ruben Sogomonian; film processed by Kafard Films, Paris, France. Starring Amanda Bjorn and Brando Wild.
Joshua Finsel, “Before the Snow”
Artist:Joshua Finsel Hometown: Jim Thorpe, Pennsylvania Song: “Before the Snow” Album:No Honey Release Date: February 6, 2024
In Their Words: “‘Before The Snow’ is a song about an Appalachian Trail through-hiker whose river meditation is interrupted by a daydream. Mount Katahdin in Baxter State Park in Maine is the northern end of the trail, and a hiker must get there ‘before the snow’ in order to be allowed to finish the journey.
“The lyrics are autobiographical. I teamed up with the famed string trio Bizarre Star Strings (Brandi Carlile, Madison Cunningham, The Shins) for the lush, theatrical river-like passages. Award winning fiddle player Katelynn Casper and mandolinist Quentin Fisher of Serene Green added to the arrangements. Finally, David Bowie producer and bass player Mark Plati mixed the record and played fretless bass.” – Joshua Finsel
Lonesome River Band, “I’m On To You”
Artist:Lonesome River Band Hometown: Floyd, Virginia Song: “I’m On To You” Release Date: January 31, 2025 Label: Mountain Home Music Company
In Their Words: “‘I’m On To You’ is a song written by my friend Jimmy Yeary, who has become one of the most in-demand writers in Nashville. I recorded this song back in 1997 and it was the first song Jimmy had featured on an album. The album is long out of print, but this song kept making its way into sound checks and the show every now and then. It has that ’80s country vibe that we felt would lend itself to the sound we are doing for this upcoming album. We hope you like this version!” – Sammy Shelor
Track Credits: Sammy Shelor – Banjo, vocal Jesse Smathers – Acoustic guitar, lead vocals Mike Hartgrove – Fiddle Adam Miller – Mandolin, vocals Kameron Keller – Upright bass
Dave Murphy, “Planet of Pain II” (Featuring Mark Erelli)
Artist:Dave Murphy Hometown: Madison, New Jersey Song: “Planet of Pain II” featuring Mark Erelli Album:A Heart So Rare Release Date: January 31, 2025
In Their Words: “The song is a rumination on the fragility of life, disappointment, lessons learned, and carrying on. This theme is illustrated in my lyrics, ‘Ashes to ashes, dust to dust/ Sometimes it feels like it’s all just too much/ When something is lost (they say) something is gained/ Still finding my way on this planet of pain.’ The original ‘Planet of Pain‘ appeared on my first album, Under the Lights. It was just one voice, one acoustic, and a lap steel. Part II borrows some lyrics, but elevates the song to a different level with the support of Chris Tarrow’s mysterious pedal steel playing, Shawn Pelton’s percussion, and Mark Erelli’s haunting vocals.” – Dave Murphy
Track Credits: Dave Murphy – Vocals, acoustic guitar Shawn Pelton – Drums Chris Tarrow – Electric guitar, pedal steel Richard Hammond – Bass Mark Erelli – Backing vocals
Pitney Meyer, “Bear Creek Clay”
Artist:Pitney Meyer Hometown: Nashville, Tennessee Song: “Bear Creek Clay” Album:Cherokee Pioneer Release Date: January 10, 2025 (single); April 18, 2025 (album) Label: Curb Records
In Their Words: “‘Bear Creek Clay’ is a song brought to the group by Danielle Yother from North Carolina. It’s a snapshot of a pioneering Daniel Boone-type of character, blazing a trail to a home in the mountains. ‘Bear Creek Clay’ was the title we settled on, which in the moment I figured was something we would come back and edit later, but come to find out, there are creeks and rivers by that name all over Tennessee, Kentucky, and Missouri. Driving through Bon Aqua, Tennessee, I noticed on the map I was nearing a Bear Creek. This was just a few miles from the log cabin where we would be recording. When we cut the song to tape a few days later, I knew we had to drive down to the creek first. The water was brown and rushing fast, swollen from the rains the night before. We made it back to the cabin a bit soaked but ready to step in and sing this song that seemed to be coming to life in the landscape around us.” – John Meyer
Artist:Lily Talmers Hometown: Birmingham, Michigan and Brooklyn, New York Song: “It Is Cyclical, Missing You” Album:It Is Cyclical, Missing You Release Date: January 30, 2025
In Their Words: “This song is sort of meant to mirror the experience of running up and down a hill, continuously. It was born of witnessing two brothers arguing in a parking lot– the younger, around five years old, was sobbing trying to get his older brother’s attention. The older brother, around age seven, clearly had the awareness that ignoring someone only makes them more desperate for your attention, and wouldn’t look his brother in the eye. The whole record is sort of a big statement of what it means to be in both of these positions, cyclically. I am both the desperate, reaching brother, and the power-hungry, indignant brother who hasn’t learned the responsibility of loving other people.” – Lily Talmers
Carolyn Kendrick’s latest project explores complex themes of moral panic, tradition, and the figure of the devil (AKA Satan, AKA Lucifer). The LA-based songwriter opens up about the inspiration behind her album, Each Machine, which is accompanied by a thought-provoking zine. In our Basic Folk conversation, she discusses the significance of the color red in her work, symbolizing themes of anger, danger, and familial ties, and how it contrasts with the black and white imagery used throughout the project.
Carolyn also shares her unexpected journey into researching the devil, sparked by a podcast project that ended up overtaking her life, leading her to interview the leader of the Satanic Temple, among many others. This deep dive into the topic became a way for her to process the overwhelming political and cultural landscape. She candidly discusses the challenges of maintaining balance while being consumed by such a heavy subject matter (spoiler alert: she did not maintain balance at all).
We also touch on Carolyn’s work in podcasting (You’re Wrong About, You Are Good) and how it has influenced her approach to music. She reflects on the importance of integrating culture and music, creating a world-building experience that connects various aspects of her life. Carolyn’s creation of the Gender Equity Audio Workshop, along with co-producer and Each Machine collaborator Isa Burke, highlights the power of women supporting each other in the music industry, fostering an environment where questions can be asked without fear of judgment.
She expands on her exploration of traditional songs through a devilish lens, which allowed her to examine how their meanings shift when viewed in this context. She also discusses her dual versions of the hymn “Are You Washed in the Blood,” inspired by Naomi Klein’s book ‘Doppelganger,’ and how they represent different facets of her musical identity.
Throughout this episode of Basic Folk, Carolyn Kendrick offers insights into forgiveness and harm, emphasizing the need for solution-focused actions in today’s society. Our chat concludes with a fun and quirky Satan-themed lightning round, where Carolyn shares her favorite pop culture depictions of Satan and imagines a music festival in hell. The devil is fun again!
A few short weeks ago, Alison Krauss & Union Station made roots music waves announcing their first headlining tour since 2015, featuring dozens of dates stretching from April ’til September of this year. Now, the 14-time GRAMMY-winning bluegrass band is announcing their first album in 14 years, Arcadia, set for release on March 28 on Down The Road Records. This marks the return of Krauss & Union Station to collaborating with Rounder Records founders Ken Irwin, Marian Leighton Levy, Bill Nowlin, and John Virant, who recently began Down The Road Records. Decades ago, Irwin first signed the fiddle phenom when she was still a teenager.
With the album’s announcement, the band have released Arcadia‘s first single, “Looks Like the End of the Road,” a song written by Jeremy Lister that hearkens back to the emotive slow burns of classic AKUS albums like 1997’s So Long, So Wrong. (Listen above.) Gritty Dobro, by none other than Jerry Douglas of course, and pining mandolin tremolos are underpinned by sweeping pads and transatlantic textures. It all at once sounds like idiomatic Union Station while clearly signaling their transition from a former era to a newly minted one. “Looks Like the End of the Road” is an apropos beginning for this world-renowned group starting down a new highway.
“Usually, I find something that’s a first song, and then things fall into place,” says Krauss via press release. “That song was ‘Looks Like the End of the Road.’ Jeremy Lister wrote it, and it just felt so alive – and as always, I could hear the guys already playing it.”
“The guys,” at this juncture, include longtime band members Douglas, Ron Block, Barry Bales, and a new addition, Russell Moore, a 6-time winner of the IBMA Male Vocalist of the Year Award and a veteran frontman of bluegrass mainstays IIIrd Tyme Out.
“To say I’m excited about recording and touring with Alison Krauss & Union Station would be a huge understatement,” Moore gushed in the band’s December 2024 tour announcement. “After 40 years of playing music full-time and leading my own group for 34 years, this opportunity is among the few things at the top of the list that my music career has offered me. My hopes and desires are to fill this spot in AKUS with the same professionalism, precision, and thoughtfulness as other members who have held this position before me, and I’m looking forward to the ‘ride!'”
Tickets for the gargantuan Arcadia tour – which will feature special guest Willie Watson – are already on sale. Anticipation for the first studio album in 14 years from one of the most prominent and impactful bluegrass groups in history is remarkably high. Yet again, with Arcadia, Alison Krauss & Union Station are poised to bring their singular blend of bluegrass, Americana, adult contemporary, and stellar song interpretations to millions of fans and listeners around the world.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
