BGS 5+5: Suzanne Santo

Artist: Suzanne Santo
Hometown: Cleveland > NYC > LA > Austin
Latest album: Yard Sale
Personal nicknames (or rejected band names): Suzanimal, Lewis, Soozanto

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

I get really sucked into cinema. I’ve written whole songs after being emotionally altered from watching a movie or TV show. Deadwood was a big one for me. I truly believe that David Milch channeled God through the world he created on that show and I feel it every time I watch it.

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

It’s not so much a ritual as a way of life these days, I guess. I just want to enjoy this. I mean, what a fucking great life, getting to play music! When I’m able to release the things I can’t control and celebrate my hard work and embrace the gifts I’ve been given, the shows become magical and the studio work becomes fluid and beautiful.

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

Art is long. It can be a lifetime and longer if you’re good enough and lucky enough. The most substantial and purest form of reward for this particular way of life comes from within… If you search for external relief, it tends to be fleeting and most certainly temporary. Don’t forget to live. Chasing the dragon of art will consume you and opportunities of great love and joy will be missed if you forget to exist outside of the chase.

Which elements of nature do you spend the most time with and how do those impact your work?

I take long walks a few times a week and try to do four to five miles if I can help it. I live in Austin, so there are some great neighborhoods and a good amount of trails around the lake to utilize. I work on new songs sometimes, catch up with friends, listen to podcasts and genuinely feel rejuvenated every time. If I neglect to walk or get too busy I start to get sad.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Man, playing/singing with Willie Nelson would be a dream. Considering the fact that he’s an Olympic-level stoner, the paired cuisine for this fantasy has no limits. I think a buffet of the highest quality BBQ and fixin’s, homemade lasagna, fried rice, tater tots, an array of pies, mochi, Golden Grahams cereal, hot pretzels with cheese, and some popcorn would suffice… also hot chicken and biscuits.


Photo credit: Cameron McCool

WATCH: Jon Randall, “Keep On Moving” (Live at Southern Ground Nashville)

Artist: Jon Randall
Hometown: Dallas, Texas
Song: “Keep On Moving” (Live at Southern Ground Nashville)
Album: Jon Randall
Release Date: September 10, 2021
Label: Lonesome Vinyl

In Their Words: “‘Keep On Moving’ started with a guitar lick and a first line. Once I put pen to paper, I never looked back. That’s exactly what the song is about as well. Sometimes I wish I could just get in the car, hit the gas and keep going. I think we all feel that way and probably hesitate to do so in fear of finding somewhere you don’t want come back from. What if there is a place where nobody gives a damn about where you come from and the mistakes you’ve made? That would be a hard place to leave.” — Jon Randall


Photo credit: Jess Tomlins

LISTEN: Ross Adams, “Tobacco Country”

Artist: Ross Adams
Hometown: Charlotte, North Carolina
Song: “Tobacco Country”
Album: Escaping Southern Heat
Release Date: September 10, 2021

In Their Words: “The inspiration behind ‘Tobacco Country’ came from always staying true to your roots and remembering the people who helped you follow your path and dreams. The South raised me and the culture is in my heart, it is family, and reminds me of simpler times. It’s coming to that realization of needing to grow out of your adolescence to make your soul thrive and shape your own destiny. I don’t plan on staying in the South forever. I have this dream of moving out West, but ‘Tobacco Country’ was me sorta remembering my roots, but still wanting to get out and see the world.” — Ross Adams


Photo credit: Joshua Black Wilkins

WATCH: Birdtalker, “Better Days” (Live in Nashville)

Artist: Birdtalker
Hometown: Nashville, Tennessee
Song: “Better Days”
Album: Birdtalker
Release Date: October 8, 2021
Label: AntiFragile Music

In Their Words: “This song captures a sober moment of realization and the choice to grasp at hope rather than drown in the breakdown. Musically, it’s lush and flowing, as if you’re floating through the experience in a dream state, lulled into acceptance and moving forward but not grounded. This atmosphere is created by the lilting, at times questioning, bass line and the fluttering and tactile percussion which both give the song an intimate feeling of humanity, as if they represent the wanderings of a questioning heart and its fluttering uncertainty. The flesh surrounding the song’s heart is the regular thrum of the acoustic guitars and the layered harmonies that build throughout. We went through a bit of a journey in the studio figuring out the instrumentation and tone of the song. It began with a more straightforward and confident presentation which we eventually scaled back to this more organic approach, leaning into the song’s uncertainty and delicacy.” — Birdtalker


Photo credit: Jeremy Cowart

The Show on the Road – Madi Diaz

This week on The Show On The Road, we go on a deep dive with Madi Diaz, a sought-after Nashville-based songwriter who may have dropped among the most devastating and powerful break-up albums of the decade with her newest LP History Of A Feeling, a searing debut on Anti- Records.

LISTEN: APPLE PODCASTSSPOTIFYSTITCHER

If you’ve made it to the doldrums of your mid-thirties, you’ve probably had your heart broken once or thrice. Diaz is no exception, except unlike the rest of us who may try and forget all about those lost love affairs, Diaz does the opposite. She chronicles the destruction of her last relationship with a craftsman’s precision, creating a series of unvarnished, seething, diaristic songs about an ongoing and fractured grieving process.

Diaz opens with the gut-puncher “Rage,” which says a lot even if it’s under two minutes long. Is it ok to not be ready to move on? To hate that you HAVE to move on? Soon after she’s “Crying In Public” and immediately after that she’s baring her teeth in the standout acoustic single “Resentment” — which was initially covered by moody pop hero Kesha. Does it get brighter from there? Not exactly, but it’s better that way.

It could be way off base, but maybe History Of A Feeling is our updated Jagged Little Pill without the pop artifice. Not that Diaz sings at all like Alanis Morissette, but a similar hope for heartbroken catharsis weaves its way throughout. Working with Big Thief collaborator and soulful producer Andrew Sarlo surely helped capture the intimate vibe, with certain songs barely needing more than a guitar and her direct, cutting voice. Without an army of synths or the armor of an orchestra behind her, or the security blanket of a band smoothing out the edges, the rawness of the emotion in each song sings out louder.

Diaz grew up in Lancaster, PA with a dad who had his own Frank Zappa cover band (she mentioned that she indeed had her own teen version) and then later dropped out of Berklee College of Music to hit the road with her own work. She has never been afraid to pick at the shrapnel in some of her deepest wounds to create songs that leave their own mark after you listen. She’s put out more atmospheric, pop-forward work — like We Threw Our Hearts In The Fire (2012) and Phantom (2017) — for a decade, but this quieter, more personal record feels like she’s finally found her sound.

Pulling no punches, Diaz includes a song like “Man In Me,” which references a long-time partner who transitioned to female. In a way, it was almost a double-loss, one that left her feeling confused and guilty for feeling angry at all. And yet — when we reach the end of History Of A Feeling, the feeling we get isn’t bitterness or rage any longer — it may be that most elusive of the grieving steps: acceptance. And maybe even forgiveness.


Photo credit: Lili Peper

WATCH: Field Guide, “Tupperware” (Live at Monarch Studios)

Artist: Field Guide
Hometown: Winnipeg, Manitoba; now Toronto
Song: “Tupperware” (Live at Monarch Studios)
Album: Make Peace With That
Release Date: September 17, 2021
Label: Birthday Cake

In Their Words: “Once in a while if you’re open to it, the universe may use you as a vehicle. This was the case with ‘Tupperware’ which came bursting out of me in a cool 20 minutes. I love that feeling and I really love this song. It’s about my early days living in Winnipeg; it’s about Tuesday nights in Osborne Village where a couple of wicked soul bands play weekly; it’s about my favourite restaurant which has since closed its doors; it’s about the beautiful parts of life that aren’t meant to last forever, and that’s okay.

“I wrote this album while swimming through a sea of change. ‘Tupperware’ came to be as my life in Winnipeg was coming to a close. I’d just moved out of my house, ended a relationship and was set to move to Toronto as soon as a cheap sublet surfaced. In September 2019 I finished mixing my previous release You Were just outside of Vancouver. I jumped on a plane and flew straight to Toronto to move into a little basement apartment at Crawford and Harbord St. in Toronto’s West End. For the next few months I wrote songs, put together a band and started to play around town, and then I met someone who made the songs come out even faster than before. The world shut down and I started looking inward, writing and writing some more. In the summer of 2020 I rented a van and drove back to Manitoba to make this album with my dear friends. I hope you like it!” — Dylan MacDonald, Field Guide


Photo credit: Joseph Visser

Grace Pettis, With Support From the Indigo Girls, Reconnects With “Landon”

Grace Pettis tells a dramatic story of regret in “Landon,” as she carefully weaves together her account of what happened in small-town Alabama when her childhood best friend came out of the closet. Instead of finding the loving support of a close friend, the song’s subject found judgment and scorn.

“Landon needed somebody to be on his side. He trusted me. And I let him down,” she says. “Instead of listening and responding with love and acceptance, I replied with a lot of canned answers taken from my Christian belief system, what the church taught me to say. Years of soul-searching, prayer, and information gathering led me to a very different place. I knew that I had wronged Landon in a way that I could only explain in a song.”

Years down the line and now based in Austin, Texas, Grace Pettis wrote her heart’s sorrow and contrition into a song that can only suggest the emotional complexity of her experience. But this story doesn’t end here. Thankfully, the subject of the song heard her words and the two have mended their fences. “We are in a great place now,” she says. “He’s forgiven me, and we get to be close in a new way, now that we’ve made peace with ourselves. We’re both living a true story now.”

In July, Pettis released a new version of the song (after the original acoustic video premiered on BGS), this time backed by the Indigo Girls. In addition, the new music video features the very friend who inspired the song. Take a look at “Landon.”


Photo credit: Nicola Gell

LISTEN: Tony Kamel, “This River”

Artist: Tony Kamel
Hometown: Austin, Texas
Song: “This River”
Album: Back Down Home
Release Date: September 24, 2021
Label: The Next Waltz

In Their Words: “Making music for a living is a privilege afforded to few. If you’re lucky, people may even want to see you play it. That’s a wonderful thing, but it comes with some caveats. You miss your family and friends. Even when you’re home, you play at night or on weekends when they’re home from work. But that’s just part of the deal. Would be great to make some good money doing it, too. Maybe one day…. We recorded this on the pre-production day in the studio, the day before we really got started. It was supposed to be a demo. Josh Blue played an old 1960s Maestro drum machine while I took a stab at it. It sounded really cool so we just kept it and added slide guitar by Geoff Queen and harmonies by Kelley Mickwee later.” — Tony Kamel


Photo credit: Josh Abel

The BGS Radio Hour – Episode 217

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week we have California country from Elijah Ocean and the Ben Reddell Band, acoustic folk goodness from Anna Tivel, a final farewell to our August Artist of the Month Amythyst Kiah, and much more.

APPLE PODCASTS, SPOTIFY

Amythyst Kiah – “Black Myself”

In our recent two-part interview with our August Artist of the Month, Amythyst Kiah, she spoke with us about faith, about mental health and singing vulnerable, open songs every night, and the intent behind lyrics and songs like “Black Myself.” Plus, she retells the series of events that helped her leave her “shut-up-and-sing” policy behind. Thank goodness for that.

Chris J. Norwood – “Good Guy With a Gun”

On “Good Guy With a Gun,” singer-songwriter Chris J Norwood examines the grief and loss of his father’s suicide while challenging the United States’ gun culture: “Truth be told, we as a country need to talk more openly about suicide. Especially as it relates to the gun debate…”

Ava Earl – “New Light”

One of the first love songs singer-songwriter Ava Earl ever wrote, “New Light” is also a little existential — it deals with the wonder and mystery of the universe as well as that of love.

Elijah Ocean – “Honky Tonk Hole”

As Elijah Ocean himself puts it: “‘Honky Tonk Hole’ is about a guy who has seen better days and whose big dreams have all gone up in smoke. Now he spends all his time drinking and playing country music in bars. Not entirely sure why he’s complaining about it, though. Seems kinda fun and not a bad life. It’s a high-energy shuffle about falling into a rut but also kind of loving it.”

Ben Reddell Band – “12 Bar Blues”

Musician and frontman Ben Reddell recently put together a Mixtape celebrating bands and artists who have played The Grand Ole Echo, a roots music concert series he books at LA’s Echo Park, or who rely on the creative and rehearsal space he manages, Bedrock LA. To quote: “We love our traditional country here in Echo Park, but we also like to let our freak flag fly with the hippie-dippie, pot-smoking types as well.” Check out the community-minded Mixtape here.

Kashena Sampson – “Hello Darkness”

Nashville-based Americana singer Kashena Sampson brings us a Shocking Blue cover that carries a feeling of yearning for someone you can’t be with.

Morningsiders – “This Could Be Good”

Morningsiders began writing their new album after the pandemic lockdowns began. They wanted “This Could Be Good” to be dance-y and delicate while being about aimless nights out with friends.

Anna Tivel – “Illinois”

Singer-songwriter Anna Tivel talked with us about her pre-show rituals (or lack thereof), drawing inspiration from literature and poetry, observing the natural and manmade world, and more in a recent 5+5.

Anya Hinkle – “Why Women Need Wine”

Asheville’s Anya Hinkle told us about the massive influence Gillian Welch had on her musically, combining the spirits of musicians who had influenced Hinkle early on — like Tony Rice, the Grateful Dead, Joan Baez, Sarah McLachlan and Madonna — into one tangible, modern, and original roots sound. Read more in this edition of 5+5.

Jay Nash – “Shine”

Jay Nash wrote “Shine” inspired by the new arrival of his daughter. It took him nearly ten years to return to the song idea: “Because, as all parents know, what followed those calm and quiet moments of parenthood was an all-out sprint… a crash course [of] becoming a parent.”

Dallas Burrow – “My Father’s Son”

On his new track, “My Father’s Son,” self-described troubadour Dallas Burrow tells the four-generation story of the men in his family line — and the influence they’ve had on their sons. It’s a tender, honest, autobiographical history.

Lonesome River Band – “Every Minute Means a Mile”

The Lonesome River Band pays tribute to the Easter Brothers on their upcoming album, Singing Up There: A Tribute to the Easter Brothers. And “Every Minute Means a Mile” is an uncomplicated Easter Brothers classic.

Adeline Stringband – “Hickory”

Adeline Stringband — a veritable old-time supergroup featuring Chris Coole, Mark Kilianski, John Showman, Adrian Gross, and Sam Allison — holed up in a cabin in the woods and recorded old time tunes for three days and three nights. Gross describes it as one of the most off-the-cuff and creative sessions he’s ever been a part of: “Seeing as it was -20º and there was a blizzard outside the whole time, there was nothing to do but pick tunes and roll the tape, and that’s exactly what we did.”

Jackson Melnick – “John the Revelator”

“Apocalypse isn’t to be confused with tragedy. Apocalypse is seeing something in truth, and the pain that might come from having the blinders pulled off.” Jackson Melnick brings us a bluegrass version of this classic blues song.


Photos: (L to R) Elijah Ocean by Wolfe & Von; Amythyst Kiah by Sandlin Gaither; Anna Tivel by Matt Kennelly

BGS 5+5: Jason Eady

Artist Name: Jason Eady
Hometown: Stephenville, Texas
Latest album: To the Passage of Time

Which artist has influenced you the most … and how?

Merle Haggard. No question about it. I have learned from him in every way. His effortless style of singing, the simplicity in his writing style, the way he covered different genres, the way he managed his career, all of it. Everything I do is in some way influenced by Merle Haggard, whether I’m aware of it or not. I think he was the best all-around country artist who has ever lived.

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

I’m very into photography lately. I got into it about four years ago as a way to have a hobby on the road and it really took. I didn’t realize when I started that it would affect my music the way it has. It has changed the way that I see the world, specifically in looking for more details. After a while with photography, like songwriting, you realize that you’ve exhausted everything that you can see on the surface and you have to start looking deeper for details. Seeing those details through photography has definitely expanded my imagery in my songwriting.

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

Quiet. That’s the most important pre-performing ritual. I need time to focus and center. If I go straight from noise and commotion to the stage, it can take a while for me to relax into what I’m doing. I always try to set aside the 30 minutes prior to performing to just be quiet and get centered and ready.

Which elements of nature do you spend the most time with and how do those impact your work?

When I’m on the road I try to make an effort to stop every day and just walk, preferably in nature. This job can be very chaotic at times, and intentionally stopping to walk and look around is a great exercise. If I can walk somewhere quiet then that’s even better. I’m very aware when I come across places where there is no noise. It’s crazy that when you start looking for that you realize how hard it is to find. Just complete silence. But when I find it I try to stop and appreciate it, and what a rare moment it is.

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

Almost always. Every character I write has some version of me in them. It’s not always 100 percent true, and usually isn’t, but there’s always some truth about me in there somewhere. I honestly don’t know if I’d be able to write a character that is completely separate from me.


Photo credit: Brandon Aguilar