Tag: soul

BGS Wraps: It’s the Rootsiest Time of the Year

Posted on by Justin Hiltner

Each year, the BGS Team likes to “wrap up” the year in music by featuring holiday, seasonal, and festive tunes and songs throughout the month of December. It’s a perfect way to generate holiday cheer while shining a light on some of the high quality new – and timeless! – seasonal music we’ve got playing on repeat each winter. And, it gives us the chance to infuse our veteran/stalwart holiday playlists with some new life, too.

This year, we’ll be sharing songs, albums, shows, and events each day for the first three weeks of December, a musical bridge to bring us to the peak holiday season, the end of one year, and the beginning of another. Check back each day as we add more selections to these weekly posts, highlighting roots music that will soundtrack our solstice, Christmas, Hanukkah, Kwanzaa, and New Year.

What are you listening to this time of year? Let us know on social media! You can scroll to find our complete BGS Wraps playlist for 2024 below. Check out Week 1 of BGS Wraps here and Week 3 of BGS Wraps here.

Megan Moroney, “All I Want For Christmas Is a Cowboy”

Artist: Megan Moroney
Song: “All I Want for Christmas is a Cowboy”
Album: Blue Christmas …duh (EP)
Release Date: November 1, 2024

In Their Words: “Well since it comes out tonight, I guess now would be a good time to let y’all know I recorded a lil 3 song holiday EP that features 2 original songs & a cover of a classic. It’s called Blue Christmas …duh.

sleigh, I guess.” – Megan Moroney, via social media

From The Editor: “Megan Moroney was everywhere in 2024 – and we certainly didn’t mind! Three CMA Awards nominations, her sophomore album, Am I Okay?, reached No. 9 on Billboard‘s Hot 200 chart, she’s MusicRow‘s Breakout Artist of the Year, and so much more. Plus, she released this excellent holiday EP, Blue Christmas …duh, in November featuring two new originals and her rendition of the classic made popular by Elvis. We adore Moroney’s brand of high-end, sequin-studded, mainstream country. Catch her and her music on the Am I Okay? Tour in 2025!”

Spencer Hatcher & Aubrie Sellers, “Mr. and Mrs. Santa Claus”

Artist: Spencer Hatcher & Aubrie Sellers
Song: “Mr. and Mrs. Santa Claus”
Release Date: November 1, 2024

In Their Words: “‘Oh, yeah, you bet. Uh… ho ho ho and stuff’ 🎄 ‘Mr. and Mrs. Santa Claus’ is out now!!” – Spencer Hatcher & Aubrie Sellers, via social media

From The Editor: “Decked out in their holiday best and performing in front of a classic Airstream trailer, bluegrass influencer Spencer Hatcher and garage country artist Aubrie Sellers play the mother and father of Christmas for their new single, ‘Mr. and Mrs. Claus.’ Throwing it back to the ’70s in more ways than one, their rendition pays tribute to George and Tammy’s cut of the song released in 1973. It combines so many things we love about bluegrass, country, and roots music – from the steel guitar and tasty harmonies to the retro trimmings and honky-tonkin’ tempo. We’re even here for the iconic knotty pine wood paneling! Perfect for BGS Wraps.”

Sierra Hull, “The First Snowfall”

Artist: Sierra Hull
Song: “The First Snowfall”
Release Date: November 8, 2024

In Their Words: “‘The First Snowfall’ is the B side from my upcoming limited edition 7” vinyl release, Holiday Favorites V1  … Can anyone guess which classic artist I discovered this song from?” – Sierra Hull, via social media

From The Editor: “Every seasonal playlist deserves a selection of songs about the season, as well as the festive holidays we celebrate during it. So we were especially excited to hear impeccable mandolinist Sierra Hull’s rendition of this Bing Crosby classic, ‘The First Snowfall,’ when it dropped last month. With a newgrass groove that skips and hops along, Hull and her crack band bring a modern glitz to the number. Don’t miss the A side of her special holiday single release, too – it’s ‘Country Christmas’ pulled from the catalog of one of Hull’s heroes, Loretta Lynn. Bluegrass winter leads to bluegrass Christmas, and we wouldn’t have it any other way.”

Blind Boys of Alabama & Jay Buchanan, “I Heard the Bells on Christmas Day”

Artist: Blind Boys of Alabama & Jay Buchanan
Song: “I Heard the Bells on Christmas Day”
Release Date: November 29, 2024

In Their Words: “Get in the holiday & shopping spirit with ‘I Heard the Bells on Christmas Day.’ Produced and arranged by Hall & Oates Music Director Shane Theriot, we sing it alongside rocker Jay Buchanan of Rival Sons.” – Blind Boys of Alabama, via social media

From The Editor: “Every holiday needs soul. Who better to provide a bit of a Christmas slow burn – besides a yule log – than the Blind Boys of Alabama with Rival Sons’ Jay Buchanan? ‘I Heard the Bells on Christmas Day’ has limitless pocket and a funky, slow dance groove. A brand new addition to our Non-Crappy Christmas Songs playlist? Most certainly! This rockin’, soulful, Americana-steeped rendition of a holiday classic is just too good.”

William Prince, “The Sound of Christmas”

Artist: William Prince
Album: The Sound of Christmas (EP)
Release Date: October 18, 2024

In Their Words: “Produced by the wonderful Boy Golden, featuring the talents of Alyshia Grace, FONTINE, Cody Iwasiuk, John Baron, Stephen Arundell, Keiran Placatka, Matt Kelly, Kris Ulrich, Austin Parachoniak, Kaitlyn Raitz, Ben Plotnick, and with beautiful artwork from Roberta Landreth, these songs were a treat to put together for you and I hope you enjoy them as much as we enjoyed making them. … Happy early holidays, folks.” – William Prince, via social media

From The Editor: “Christmas arrived right on time – in mid-October – via this delicious three-song EP from First Nations country singer-songwriter William Prince. We’ve covered Prince quite a bit over the years, relishing the plains patina and down-to-earth quality of his albums and songs. The Sound of Christmas is a bit more polished, shiny, and draped in tinsel (especially the primed-for-Times-Square title track), but the other tracks on the project, ‘Silver Bells’ and ‘Don’t Go Leaving Me (It’s Christmas Eve),’ still display plenty of that signature grit and duality. Here’s a sound direct from (what we now call) rural Canada that’s also very much ready for the mainstream.

“Something else we love about The Sound of Christmas: Prince is selling 1000-piece jigsaw puzzles of the festive, holiday village cover artwork for the EP. Adding it to our holiday gift list now!”

AJ Lee & Blue Summit’s ‘City of Glass’ is Funny, Sexy, and Empowered

Posted on by Justin Hiltner

At 26, the prodigy phase of AJ Lee’s music career has passed. It might take a little more time for the tendency to confuse her with a professional wrestler using the same name to fade away.

“I think I could take her!” Lee — the singing one — gamely pronounces at the conclusion of an interview on the third album by AJ Lee & Blue Summit, City of Glass (out July 19 on Signature Sounds), prompting laughter from the band’s Scott Gates, who asserts himself on the new album writing three songs on which he sings lead.

Rounding out Santa Cruz, California-based Blue Summit are fiddler Jan Purat and guitarist Sullivan Tuttle, one of the children of educator-musician Jack Tuttle and brother of breakout star Molly Tuttle. Lee also got her start with “The Tuttles with AJ Lee.”

A keen sense of humor dots City of Glass, which was produced by Lech Wierzynski of “retro-soul” band The California Honeydrops. It was Wierzynski who suggested Harlan Howard’s “He Called Me Baby,” on which Lee delivers a notably sultry lead vocal. The reference point for her version of “He Called Me Baby” is soul singer Candi Stanton, rather than Patsy Cline or Charlie Rich.

“I was raised to sing pretty straightforward. I wanted to remove as much ego as I could, because I just wanted to sing and have fun,” Lee said. “I’ve learned to put a little bit more of my personality into it and that, I think, is making me a better singer overall, which is why we wanted to work with Lech in the first place, because he’s such a powerful singer.

“That really resonated with me and I’m trying to move more in that direction.”

Gates pipes up at this point: “AJ’s not going to say this, but Lech brought ‘He Called Me Baby’ to the table because he had the foresight, coming from that soul world, he recognizes in AJ’s voice the ability to do this kind of thing.

“The cross-pollination of these American roots, is a smart move from Lech, I think,” he said.

BGS caught up with Lee and Gates as they rehearsed in Nashville, Tennessee, and prepared to do some lip synching for a video. As a seasoned bandleader, Lee takes pains to spread the credit for her success around and steers some questions toward Gates to try and ensure she doesn’t dominate the conversation.

City of Glass is AJ Lee & Blue Summit’s third album. How do you view the progression that got you to this point?

AJ Lee: The first album, [Like I Used To], we were looking for what kind of sound we wanted as a band. Because at that time, it was only four members without a fiddle player. So on that one, we had some more electric instruments and more drums. The second album, [I’ll Come Back], we went more acoustic roots, because we just wanted to play more bluegrass, because that’s what we grew up on and that’s what we do best. For this third album, we’re confident doing bluegrass, roots, and country, sticking with more stringed instruments, but also branching out. With Lech’s involvement, we’re leaning a little bit towards soul, R&B, and keeping it interesting, but still showcasing ourselves and what we like to play and what we like to do.

Several songs on City of Glass are funny. There’s one, “Toys,” making fun of a men who act like boys, another about getting “Sick on a Plane” and a humorous take on busking, “Solicitor Man.” Why so lighthearted this time around?

Scott Gates: I grew up playing bluegrass with a lot of silly guys. There’s a bouncy kind of lighthearted feel in a lot of traditional stuff. … I noticed that a lot of songs that I had written were kind of getting down into my feelings and whatnot, and I wanted to write one that I knew would be fun for my friends to play.

Are there models in bluegrass you’re following with the humor?

SG: There is a history of fun stuff like The Louvin Brothers. I’m also influenced by Jimmy Martin. Jimmy Martin is one of the pillars of bluegrass music, and he’s hilarious.

“Toys” is about a young guy or maybe an immature man. Is it about yourself, Scott?

SG: A little bit, yeah, probably as a teenager noticing the involuntary methods by which young, dumb boys go about thinking of themselves. It was mostly born out of that phrase, “The man who dies with the most toys wins.”

The title cut, “City of Glass,” is about leaving an artistic legacy. Aren’t you guys a little young to be concerned about that?

AJ: Yeah, I’m pretty young. I’m 26 now, but I have been doing music since I was really young. Collectively, we figured out that the band has about 90 years worth of experience. I’ve been playing on stage since I was about four or five years old. So I’m young, but I have been doing it for a long time. Legacy is having something that you’ve made be around even when you’re not doing it anymore. That’s a big theme of “City of Glass.”

As you say, you got started very young as musicians and Jack Tuttle was a common mentor. How did that develop?

SG: I met AJ when she was four. I knew her older sister Molly, ‘cause she’s my age. So I knew her more. But [Sullivan Tuttle] was around, and Sully and AJ had known each other since back then. I was probably about seven or eight when I first started going to the Father’s Day Festival and the music camp. So I got an opportunity to learn and play from people like John Reischman and Mike Compton and see musicians like The Osborne Brothers and Earl Scruggs. The picking scene is incredibly high quality.

AJ, you were the only non-Tuttle in the Tuttle family band when you were very young. What was that like?

AJ: I loved it. As a young kid, it’s kind of hard to be in the moment and really appreciate what you’re doing. As a seven-year-old to fifteen-year-old, I went about it as like, “OK, we’re playing a gig, I’m going to practice here and I’m going to sing my song. I’m hanging out with my friends, and that’s it.” But being in that band was definitely instrumental in my progress as a bluegrass musician, because I got to work directly with Jack Tuttle. Everyone loves Jack because he’s such a renowned teacher in the community and obviously all of his kids are talented beyond measure. So I was able to play with people who were better than me and also equal to me. My mom, growing up, she always said, “You always want to play with people who are better than you, because that’s how you’re going to get better.” And so I got to have that opportunity for many years.

Is there any competition now between yourself, Molly Tuttle and Bronwyn Keith-Hynes now that you all are competing musicians in the marketplace?

SG: Absolutely! [Laughs]

AJ: No, no, no, definitely not. For me and Molly, we’re branching off and doing our own thing. We were in a band for however many years, and now we’re off doing our own projects. And Bronwyn is branching off and doing her own projects in a similar way.

So, it’s the same in any community or genre of music, you played together and now you’re doing your own thing. Molly’s singing on our album as well, on a song [“I Can’t Find You at All”] that her dad wrote.

AJ, you could pursue a solo career, why do you prefer a band situation?

AJ: It makes me happy. I like playing with other people. I don’t really like performing by myself. I feel like I have a lot to offer, but I also like playing with people who also have a lot to offer and are amazing talents. And, you know, people compliment our band on how many singers there are. I always think that the more singers the better, the more talent you can showcase the better.

Pretty much anyone in the band could peel off and do a solo career. But I think what makes us really unique and strong as a band is that we all can be individual musicians, but we choose to play together, because it just makes the creative juices flow more and it makes us want to even continue on more than I would as a solo musician.

SG: At some point, I’ll probably do my own project. But right now, all I care about is playing music with AJ and the boys and see where this goes. I try not to plan too much. I don’t really scheme. I probably should scheme a little bit more, but I just don’t.

How does the California bluegrass scene differ from the South?

SG: A lot of people think of California as the jammy stuff, the Deadhead stuff that comes out of there. But even to this day, the California Bluegrass Association is very traditional. It’s one of the most traditional associations out there and there’s also a huge focus on singing. The singers that come out of a place like Tennessee are extremely good at blending. There’s a school of singing, and a lot of them sound very similar. Their harmonies are incredibly perfect. But California tends to reward individuality and uniqueness. The unique voices are kind of put on a pedestal.

AJ, your singing style is more subtle than showy. Why?

AJ: I agree with you. I’ve always really appreciated the subtlety of singing to where it’s not, “Look at me. Look at how well I can sing.”

“Hillside” uses the metaphor of a hill that aspires to be a mountain. What does the metaphor represent?

AJ: “Hillside” is about women empowerment. The metaphor is that you are this hill that is bombarded by all these outside elements trying to knock you down. But your foundation has become so strong and nothing’s really going to topple you over.

Have you experienced a lot of sexism in your career?

AJ: I’ve experienced some, of course. Especially after shows, you know a lot of older gentleman say things to me that obviously they mean well, but it just turns out to be very sexist. I get a lot of the, “If I was 20-years, 30-years younger” sort of statements, and it’s just like, “Ooh, gosh.”

How about general discrimination?

AJ: Yeah, especially jamming in the bluegrass community, as a woman sometimes you’ll just get into those circles that have that male energy so present and it’s really hard for women to join a jam sometimes. But I’ve learned to try to just get myself in there over the years with support from my mom and other strong women who are also in the community.

Are you on the record on where the “Blue Summit” band name originates?

AJ: Our first festival we played was a Kate Wolf festival. We actually didn’t really have a band name yet that we were happy with. The original name we hated. Our original bass player at the time, Isaac Cornelius, came up with The Highway 17 Savages, which doesn’t really resonate with our band at all. We totally needed to change this name. So we made these recordings to send in to Kate Wolf at Isaac’s house, which he grew up on the summit in Santa Cruz. So we were like bluegrass on the summit. So we became Blue Summit.

Photo Credit: Natia Cinco

The Delightful Rebellions of Swamp Dogg’s ‘Blackgrass’

Posted on by Justin Hiltner

Early in my recent interview with Swamp Dogg, the iconoclastic singer-songwriter and producer makes a self-aware confession: “I have read columns about Swamp Dogg and so forth, and I try to find out what they classify me as,” referring to the veritable grab-bag of hyphenated micro genres that music writers use to classify him. We connected a few days out from the release of his latest album, Blackgrass: From West Virginia to 125th St, and the artist, born Jerry Williams Jr., seems unbothered. Later he adds, “When I do the Swamp Dogg albums, I really don’t try to please anybody but myself.”

He has known from the jump that the music industry doesn’t know what to do with him. Working as a singer and songwriter under the name Little Jerry Williams, Swamp enjoyed some success with his 1964 soul 7 inch, “I’m The Lover Man,” and was subsequently invited to perform at clubs in the Midwest. As Swamp remembers, “When I showed up they found out I was Black and the audience was lily white. They were good about it, they paid me and said I didn’t have to do a second show.” The small-mindedness of industry gatekeepers would follow him into his first musical steps as Swamp Dogg.

In 1971, Swamp released his second album, Rat On!, on Elektra Records. He was dropped from the label immediately after the release. At issue was the provocatively titled, “God Bless America For What,” track six on the album, which Elektra had pressured Swamp to leave on the cutting room floor. He kept the song, and his brief stint with Elektra was over. (The album cover, featuring Swamp in a victory pose astride an enormous white rat, might also have earned him some detractors in the office.) Asked if he considered caving to the label’s demands, he quickly sets me straight. “No! No. Nuh-uh. I’m dealing in truth!”

The controversy surrounding Rat On! did nothing to slow Swamp’s momentum as a creative force and in the years since its release, has proven itself a classic of left-of-center soul. He produced artists like Patti LaBelle, Z.Z. Hill, and Irma Thomas. Swamp also continued working in A&R. He signed a still-mostly-unknown John Prine to Atlantic Records in 1968, later reuniting with Prine for what would turn out to be the final recording made by the legendary storyteller. Swamp built a cult following among indie music fans in the know, collaborating with artist-tastemakers Justin Vernon and Jenny Lewis – the latter of whom returns as a guest on Blackgrass, as well. He dunked on the snobbier side of the mainstream with albums like Love, Loss, and Auto-Tune, and I Need A Job… So I Can Buy More Autotune.

A list of Swamp’s credits tells the story of one of the most fascinating music careers of the last century, but he himself tells an even deeper one. He speaks about painful failures, like when he became a millionaire in the 1970s and the sudden reality of wealth gutted his mental health. “The right word is obnoxious, I really became obnoxious, my wife pointed out to me. I was running so much that I would run in my sleep and run out of the bed.”

When the nine cars in the family garage proved insufficiently curative, she got him to see a therapist, a “who’s who psychiatrist” in Swamp’s words. He tells me so many sweet things about the great love of his life, Yvonne Williams. “My wife, she was a Leo. She was a strong Leo, she was a leader. Everybody loved her. Everybody feared her when it came to brain-to-brain. She could knock your shit right out the box. She was the reason I made a little money. Her name was Yvonne and I still think about her.” Subsequent girlfriends have told him he is still in mourning, and a second marriage was short-lived.

Discussing his musical roots, Swamp lists “blues, soul, R&B, pop, just about everything except classical and polka, and gotta add country there, cause country is what I was listening to growing up as a kid.”

His brand new record, Blackgrass, released May 31 on Oh Boy Records, is an inventive, often moving exploration of the genre. Sensitive instrumentation by Jerry Douglas, Sierra Hull, Chris Scruggs, and Noam Pikelny, among others, pairs beautifully with Swamp’s varied vocal performances across all 12 tracks. “The Other Woman,” featuring Margo Price, is an elegant update of the classic written by Swamp and first performed by Doris Duke. And Swamp himself is at home as a country vocalist, playing characters like the neighborhood ne’er-do-well on “Mess Under That Dress,” the lovelorn crooner on “Gotta Have My Baby Back,” and delivering a breathtaking country gospel performance on “This Is My Dream.”

Even as Blackgrass offers country music moments that should please even the most determined traditionalists, Swamp Dogg remains committed to surprising his listeners. “Rise Up,” for example, a Swamp original first recorded by the Commodores – “Atlantic didn’t know what to do with them!”– is reincarnated as a country-meets-alternative rock and roll foot stomper, with a guitar solo by Living Colour’s Vernon Reid, which readers should listen to in a safe and seated position.

One of the great rebellions of Blackgrass is the singer’s assumption, on an album that is being marketed to country and roots media, of a Black audience. He explains, “I’m calling it Blackgrass … mainly because of the banjo. When I was coming up the minute somebody said ‘country music’ or ‘banjo’ … we turned our nose up at it, way up until Charley Pride came along.”

As Black listeners, we are being made to understand that this record is for us, decades of deliberate exclusion from the genre be damned. Its creator is equanimous about how the art will be received. “If this one sells enough, there will be a next record. If it doesn’t, there will still be a next record. I’ll put it out myself.”

Fifty years since “I’m The Lover Man,” Swamp Dogg remains curious about, and frequently explodes, the boxes into which small-minded gatekeepers of popular music have attempted to place him. As he recalls some of the more colorful antagonists along his musical journey, Swamp is gracious in the knowledge that he has had the last laugh. He speaks with refreshing pettiness about his early critics, reasoning, “The people that I dealt with back in the day are either dead or don’t know who they are. And I know I’m in line for that, but I keep jumping out of line. When I see myself getting near the front of the line I jump out and go to the end of the line.”

As usual, Swamp Dogg plays in his own time. He has finally outlived the haters.

Photo Credit: David McMurry

Kyshona on 50 Years of ‘Rags To Rufus’

Posted on by Justin Hiltner

(Editor’s Note: 50 years ago this month, Rufus released what would become a seminal album in American roots music, soul, and funk, Rags To Rufus, which featured Chaka Khan. To mark the 50th anniversary of this iconic recording, singer-songwriter Kyshona ponders the personal meanings of the project and how it relates to her own brand new album, Legacy.)

My mother is battling dementia, so car rides with her are the perfect time to play music from her younger years, when she was carefree, childless, and she and my Dad hosted an abundance of house parties for their friends and family. I have a playlist of songs from the late ‘60s and ‘70s I’ll put on when we’re shuttling her between doctors’ appointments.

On one of these car rides, I turned on Rags To Rufus. My mom was in the passenger seat, playing “brain games” on her phone to, in her words, “Exercise her mind and hold on to what she’s got.” I noticed she was singing, under her breath, the melodies and choruses of the first three tracks on the album. She turned to me and said, “I’ve never heard this before, who is this? I like it!” This got me thinking beyond personal family legacy and more about musical legacy.

This year marks the 50th anniversary of Rags To Rufus, the album that transformed the trajectory of funk band Rufus and propelled Chaka Khan into the spotlight. Chaka Khan’s music is a soundtrack that has woven itself into the fabric of not only my work as an artist, but also into my personal life.

There is an expectation to conform, to try to categorize and compartmentalize music; I can’t imagine enduring the pressure from the industry, and even society as a whole, as it was nearly a half a century ago, artists and bands trying to squeeze themselves into arbitrary molds. To my ears, Rags To Rufus is the sound of a group of friends hanging out and having a good time – there is a sense of celebration, camaraderie, a sonic journey of Black joy. It feels like an album made for the thrill of being creative, for the sake of unbridled artistic freedom. I have always wanted my music to feel like this, telling stories, playing around with sounds and ideas. When I’m creating, that’s my goal. I write in the style that serves the story that I’m telling, without regard to genre constraints or others’ expectations.

The record begins with empowered swagger and affirmation – “You Got The Love,” which I interpret as, “You belong here.” The sentiment is carried through in “Walkin’ In The Sun,” a song that brings a comforting sense of nostalgia. I can hear my “aunties” in the hook: “Even a blind man can tell when he’s walking in the sun.”

The title track is a funked-out jam session, and then the band brings out old-time fervor in “Swing Down Chariot.”

Think about it – Rufus takes an old gospel song, adds Chaka Khan’s powerhouse vocals, blends it with blues, jazz, funk, soul, and takes it to an entirely new dimension! Forget genre, industry rules, or album cycles. Back in the day, it was just music that made you feel good, it was about that vibe.

As a music therapist, I recognize the profound impact music has on those grappling with conditions like Alzheimer’s and dementia – it encourages lucidity and presence of self. As a daughter, I see how music bonds me to my mother.

In the past, when I’ve done music therapy in nursing home settings, I’ve used songs from the early 20th century – like “Let Me Call You Sweetheart,” “Heart And Soul,” and “Sentimental Journey.” But now, the memory care songs I reach for are songs I grew up listening to in our house, at family reunions, on road trips. How fantastic is it that Chaka Khan’s work throughout her 50-year career can provide a generation-spanning conduit for a mother and a daughter to connect? We can experience that freedom in her sound as we listen together, regardless of the chaos happening around us.

I can’t begin to put into words how much I admire Chaka Khan; with my new album, Legacy, I tell the stories of my ancestors and my family. Chaka Khan’s legacy is intertwined with generations of music-makers.

Over the last 50 years, Khan has been a major influence on pop artists like Whitney Houston, R&B artists like Erykah Badu and Mary J. Blige, and on myself – and so many of my peers in the roots and folk scenes. I learned of her musical magic as a child, listening to my parents’ favorite radio stations, so being able to sing backing vocals for her at Newport Folk Festival a few years ago was absolutely surreal. I can’t imagine the journey she’s been on, but I hope she knows that her existence alone encourages artists like me to keep on being true to ourselves and our art.

Rags To Rufus is a part of my journey. For me, it’s the sound of “blackness.” I hope that 50 years from now, someone will listen to the music of myself and my peers and hear that same resonance of joy, love, and celebration of culture.

We all dream to leave a lasting musical legacy as deep and profound as Chaka Khan and Rufus.

Photo Credit: Anna Haas

Boot Scootin’ Country Soul

Posted on by Justin Hiltner

(Editor’s Note: Sign up here to receive Good Country issues when they launch, direct to your email inbox via Substack.)

Recording artist Brei Carter is currently enjoying the best of both worlds for any performer. She’s found her niche artistically and is thriving in it, excelling in a hybrid sound she calls “country soul,” one that nicely blends each genre’s special characteristics: soul’s emotional fury and country’s narrative focus. Louisiana born, she relocated to Nashville in 2019 is now working on an upcoming LP that she promises will really show listeners how much these two genres can be combined into her own distinctive style.

“I’ve always kind of gravitated towards all kinds of music, but vocally I’ve found that soul and country are the styles that work best,” Carter said during a recent interview. “For me, it’s no stretch to say that I love soul and I love traditional country. Those are the styles and songs that I grew up listening to and those are the ones that really are suited for the types of things that I want to sing.”

Considering the long history of performers who’ve taken soul tunes and made them into country hits or vice versa, Carter’s certainly in good company.

But, she’s also enjoying commercial success in a different vein. Her single, “Boots Get To Talking,” has quickly become a line dance staple. An energetic, engaging number that’s also a collaboration with the person she calls “my mentor and inspiration,” Elektrohorse, the song has generated its own line dance, something that Carter immediately credits Elektrohorse with enhancing and developing.

“When I first played him the song and told him what I wanted to do, I had my own ideas for how it would work as a line dance,” Carter continued. “He told me, ‘Brei, I’ve got some ideas, too. I think we can really do something with this.’ He took it and did some things with it that I never would have considered and he made it into something huge.”

“Boots Get To Talking” is one of those songs that really has something for every taste. It certainly has a catchy backbeat, equal parts honky-tonk and hip-hop. There’s some underlying blues feel to it as well, but when utilized in the line-dance environment the tune has an added energy and fury. “It’s my new anthem,” Carter adds, “And I’m so happy that it’s getting such a great reaction and response everywhere. It’s also a signal that people will always respond to good music and songs that make them happy and make them feel good.”

That desire, to reach across boundaries and unite people through music, has always been a big part of Carter’s performing mission. Her musical background growing up in Monroe, Louisiana included equal parts Loretta Lynn, Aretha Franklin, Charley Pride, and gospel music: “Plus a healthy dose of Cajun and Zydeco,” Carter adds. “That’s where my love of dance was developed. In those dance halls, no one ever sits down.”

Carter’s earned impressive academic credentials: a Bachelors in Business from University of Louisiana in Monroe, a Masters in International Relations from Webster University, and a Doctorate in Theology from New Foundation Theological Seminary. She’s also a proud U.S. Army veteran, having served as an enlisted soldier and as an officer.

After deciding that music would be her career path, Carter’s been carefully crafting her style. Her first single, “Gave Him A Girl,” got enough positive attention to lead to appearances on RFD-TV, WSMV-TV, WoodSongs’ Old-Time Radio Hour, among others. She made her CMA Fest debut in 2022, and released her debut album, Brand New Country, which featured a fine cover of Charley Pride’s “Kiss an Angel Good Morning,” and the powerful biographical piece, “Stronger Than That.” Carter released her most recent single last year, “Straight Up Country Crazy,” as well as her first Holiday EP, the critically acclaimed Twinkling Tales of Christmas.

Still, she acknowledges it took a while before she really understood exactly what she wanted to do from a technical perspective. “I realize now that my voice really does fall right in that middle area between country and soul,” Carter continued. “That’s a territory where I’m comfortable, and that’s really the area that I want to emphasize now.” With an upcoming series of concert dates set to begin this month, plus her new LP that will be coming later this year, Brei Carter feels really confident about the future.

“I’m really happy about where things are going for me musically, and what the future holds,” Carter concludes. “I’ve found the right mix musically, and the line-dance hit has really been a blessing, as has working with Elektrohorse. I’m very much ready to see what’s coming next.”

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Lead Image: Brei Carter by Heather Carpenter.
Inlay Image: Brei Carter by Berlin M.

Roots R&B Group The Shindellas Blend Innovation and Tradition

Posted on by Justin Hiltner

There’s no group around who either looks or sounds like The Shindellas, a trio who’ve shown they can charm audiences in every setting – from a New Year’s Eve party hosted by Nashville’s top urban contemporary radio station, 92Q, to a Grand Ole Opry crowd on a Tuesday night. Kasi Jones, Tamara Chauniece, and Stacy Johnson exude confidence, charm, and poise with very specific and thoughtful outlooks not only about their music, but also the messages they want their fans to get from their songs.

“We embrace the term girl group,” Kasi said, when asked if they found the term outdated or demeaning when used in 21st century conversation. “We’re always been about empowering women and girls, expressing strength and unity in our songs about love and life, and telling the truth. We view ourselves as expressing the term in every positive sense.”

They’ve been operating since 2017 in the town of Franklin, 20 miles south of Nashville. The trio arrived to become part of Weirdo Workshop, a company started by the writing/production duo of Claude Kelly and Chuck Harmony, Louis York. Their versatility and flexibility in working with artists – such as Mary J. Blige, Miley Cyrus, and Bruno Mars – and in particular women artists, all who come from vastly different places, has worked well. The Shindellas credit Kelly and Harmony with, among other things, providing them their unique name.

“It was definitely Claude and Chuck’s idea,” added Tamara. “We wanted a name that sounded fresh and generated excitement, as well as one that didn’t sound like anything else out there at the time.”

The Shindellas also emphasize and celebrate the collective, both as performers and songwriters. There is no lead vocalist by definition and each one doesn’t even consider that possibility. This is the ultimate trio, one whose harmonies and polish are pinpoint, yet there’s no hint of the tedium or boredom that might come from a group who’s overly rehearsed. The emphasis and focus on originality in performance, ethos, look, and viewpoint is also a reflection of the fact that all three have their own backstories of dissatisfaction – with things that they’ve witnessed and/or encountered, in terms of the music business. Stacy Johnson once worked with a family-operated music company in Chicago, before moving on to doing vocals on dance tracks, plus a brief tenure in a girl group where she quickly departed over concerns about how she was being asked to present herself. She was intrigued by Harmony’s idea of creating a trio whose members valued respect in every aspect of their treatment and presentation.

Jones had seen some of the worse aspects of predator behavior in Los Angeles after she’d previously done musical theater and booked her own overseas tours as a contemporary soul artist. When she made a visit to the Workshop and was impressed by the treatment and attitudes, she knew she’d found what she wanted. Chauniece had been a child gospel singer working on the Texas circuit with her mother managing her. She got a temporary boost in exposure and stature from being on the fifth season of The Voice, but was uncomfortable with the notion of getting lost on a major label. Both the Workshop and the trio’s other two members proved an ideal fit.

The Shindellas have definitely been expanding their fan base and earning more acclaim over the past few years. Their 2019 EP Genesis created some buzz and more followed their 2021 full-length debut, Hits That Stick Like Grits. In addition, their elegant and elaborate stage shows drew raves for being classy, yet also enticing. But their latest, Shindo, which was released in October, has given them the industry boost always vital for acts that are still building a base. It’s given them their first radio hit with “Last Night Was Good For My Soul,” an energetic, superbly sung party tune that reached the Top 10 on the Billboard Adult R&B airplay chart. It was also the first one where they got an assist from an outside partner, as the Nashville indie label Thirty Tigers helped propel the single forward.

Shindo is also a great spotlight for the group’s stylistic versatility. While their links to such vintage girl groups as The Supremes and The Pointer Sisters can clearly be heard, they’ve also got their own vibrant, engaging, and special sound.

For instance, the single “Up 2 You” demonstrates their ability to excel within a groove-dominated work, while “Kiss N’ Tell” has an edge in its discretion-demanding narrative, and “Juicy” has a sassy, naughty tone. The “Juicy” video also generated plenty of attention for its inclusion of Kasi Jones reading Angela Davis’ volume, Women, Race & Class.

Still, while they never expressly embrace the notion of a lead or front vocalist, at times, some songs do spotlight individual members talents. Jones’ facility with verbal improvisation emerges in “Last Night Was Good For My Soul” as one example. Yet, the notion of any one vocalist exiting the unit – in the manner that Diana Ross did the Supremes or like Bonnie Pointer departing her sisters – doesn’t seem on the horizon.

While Nashville has long had a reputation for not exactly welcoming artists of color that don’t fit into very specific genres or formats, the Shindellas are quick to praise Music City as being highly supportive of their music. “Nashville has welcomed us with open arms,” Johnson says. “We’ve never been treated with anything other than warmth and respect, and that’s whether we’re talking about the Opry, urban contemporary radio, fans, it’s just been wonderful.”

The trio has some ambitious plans and hopes for 2024 and beyond, our interview being completed just before the end of 2023. Most notably, they have some potential European and international tours upcoming. “I’d love to see us get some of our music into some films down the line,” Johnson continues. “We’d love to do more shows around Nashville,” chimes in Tamara. “Especially the Ryman, and we’re also thrilled to be appearing at the New Year’s Eve Party sponsored by 92Q!”

“We also are going to be doing more songwriting and collaborating [in 2024],” concluded Jones. “We really want to not only build a lasting legacy as performers, but also contribute as songwriters. We’ve all got backgrounds in other styles and we bring those influences into our performances. We’ve also got ideas for songs that we’ve been working on. I predict that people are really going to be pleased with what they hear from us, and we’re determined to make 2024 an even bigger year for the Shindellas.”

Photo Credit: Ezelle Franklin

BGS Wraps: Ruby Amanfu, Billy Strings, Old Crow Medicine Show, and More

Posted on by Justin Hiltner

Farewell 2023 and hello 2024! While we all relish the week that doesn’t exist – that delightful no-man’s-land between Christmas and New Year’s Day – there’s perhaps just one activity beyond abject laziness that’s appropriate for the turning of the year: Music! Whether you’re still in “pajamas hermit” mode or you’re antsy and ready to go back out into the world, we’ve got songs and shows to recommend for your New Year’s Eve/New Year’s Day festivities in this special edition, final week of BGS Wraps.

Thank you for spending another stellar year with BGS! We can’t wait to enjoy all that 2024 has in store with all of you. Celebrate safely and enjoy the holiday, we’ll see you in the new year.

92Q & Analog Soul 2024 New Year Bash, Hutton Hotel, Nashville, TN, December 31

There are seemingly wall-to-wall parties, concerts, and happenings in Music City for NYE, and one certainly worth spotlighting is 92Q & Analog Soul’s 2024 New Year Bash, happening December 31 at Analog at the Hutton Hotel. From 8pm to 2am, guests will hear production, songwriting, and music-making duo Louis York, roots-tinged girl group The Shindellas, Shae Nycole, and more ring in the new year with performances, DJ sets, food and drink, and a champagne toast at midnight. Tickets are available here.

Ruby Amanfu, “Winter”

A dreamy and gauzy neo-folk song from singer-songwriter Ruby Amanfu feels frosty and magical, but warm and enveloping, too. It finds joy in often gray and bleak winter landscapes and vignettes we all know so well. The pulsing piano gives the track a forward-leaning energy, even while it relaxes into its groove and builds to a tender, energetic and lush sound.

The Felice Brothers at Colony, Woodstock, NY December 30 & 31

Spending your New Year’s Eve in upstate New York? Don’t miss the Felice Brothers’ two year-end shows at Colony in Woodstock! Both dates appear to be sold out, but you can join the wait list here. Based in the Catskills – so this is something of a holiday homecoming for the group – the Felice Brothers put out a Bandcamp-exclusive album, Asylum on the Hill, earlier this month. Celebrate ushering out the old and in the new with the Felice Brothers in Woodstock.

McKowski, “Auld Lang Syne”

Mark McCausland – AKA McKowski, also of The Lost Brothers and formerly of The Basement – released an album of ethereal and contemplative holiday instrumentals for guitar this month that features a gorgeous rendition of “Auld Lang Syne” that’s perfect for your NYE playlists. The album, Winter Guitar Hymnals from the Boneyard, certainly listens as a kind of guitar-centered ecclesiastical service, featuring a handful of Christmas carols alongside original arrangements and compositions, too. It’s a lovely collection, one we just had to spotlight for this final BGS Wraps.

Nashville’s Big Bash on CBS and Paramount+, Nashville, TN December 31

If you love big crowds, bright lights, and stunning pyrotechnics, Nashville’s Big Bash is for you! Or, stay home and avoid the crowds by streaming the show on CBS and Paramount+. See and hear Parker McCollum, Brothers Osborne with Trombone Shorty, Jon Pardi, Carly Pearce, Kane Brown, and many more. Hosted by Elle King and Rachel Smith, the five-hour production will feature more than fifty artists, bands, and performances. Oh and of course there will be the music note drop – Nashville’s version of the famous ball drop – over the stage at the Bicentennial Mall at midnight! More info available here.

Nefesh Mountain, “More Love”

What better to take with us into the new year than “More Love”? A Tim O’Brien cover by Jewish bluegrass string band Nefesh Mountain, the track was released with a mission of supporting organizations working to end the violence and ongoing war in Israel, Gaza, and Palestine while supporting Palestinians and Israelis impacted by the conflict. In a press release, Nefesh Mountain made a commitment to “donate a quarter of proceeds from ‘More Love,’ the ‘Love and Light’ Tour, and their forthcoming EP to charities and foundations that are dedicated to promoting peace, coexistence, and a way forward for Israelis and Palestinians.”

With more than 20,000 killed in Gaza and hundreds and hundreds more killed in Israel, the West Bank, and the greater region, we certainly believe the world could use “More Love” – and far, far less war – in 2024.

The Nields, “New Year’s Day”

We’ve been “saving” “New Year’s Day” from the Nields’ new album, Circle of Days – which was released in June – for more than half a year, just for this moment! It’s a truly perfect song for this point of transition. The feeling of helplessness we all feel at the inevitable march of time is captured like lightning in a bottle, with feelings of regret, despair, and exhaustion. But ultimately, they find hope in these lyrics, even while they explore emotions often opposed to hope and its regeneration.

Old Crow Medicine Show at The Ryman, Nashville, TN December 30 & 31

It wouldn’t be New Year’s Eve without Old Crow Medicine Show at the Ryman! It’s a long tradition, this year bolstered by supporting acts like former Old Crow member Willie Watson (30th & 31st) and Kasey Tyndall (30th) and Harper O’Neill (31st). Tickets are somehow still available – so grab yours while you can! You never know what special guests Old Crow will trot out at these rollicking, rowdy, joyous shows. Though it’s probably safe to bet there won’t be a Belle Meade Cockfight either night, don’t rule it out entirely.

Portland Cello Project, “What Are You Doing for New Years?”

The Portland Cello Project is joined by soloist, vocalist Saeeda Wright, for an epic, jazzy rendition of “What Are You Doing for New Years?”, perhaps the only generally accepted New Year’s “carol” besides “Auld Lang Syne.” (We’re open to argument on that point, of course.) The track is from their holiday EP, Under the Mistletoe, a collaboration with Wright and drummer Tyrone Hendrix. It certainly demonstrates the broad contexts in which chamber music such as this can thrive.

Amanda Stewart, “One Hell of a Year”

A thought we have had every year since 2020 – and, honestly, since long before, too – is this: That was one hell of a year. If you’re feeling that same exasperation, mixed with fatigue and pride and a sense of finality, as we turn the page on the calendar, Amanda Stewart has a bluegrassy send off to 2023 and the holiday season just for you.

Billy Strings at Lakefront Arena, New Orleans, LA December 29, 30, 31

 

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A New Orleans New Year’s extravaganza helmed by bluegrass shredder Billy Strings feels like an apropos way to ring out the old and ring in the new. For the past few years Strings has defined bluegrass music, with his skyrocketing fame, mass appeal, and ever-growing fan base. During that time, his shows around New Year’s Eve have been unparalleled. Now, they have grown into multi-night runs in arenas and stadiums – like the Big Easy’s Lakefront Arena. As is usual for Billy’s shows, there are no openers, so buckle up for nothing but rip-roarin’ Billy Strings each night as we say a final goodbye to 2023 and bid good morning and good day to 2024! Tickets here.

Photo Credit: Billy Strings by Christopher Morley; Ruby Amanfu courtesy of the artist; Old Crow Medicine Show by Joshua Black Wilkins.

From “Alligator Bait” to “Gospel Blues,” Joy Is Central on Robert Finley’s ‘Black Bayou’

Posted on by Justin Hiltner

Been around the world, seen some of everything, but what I like about it the most is the joy that I bring…

– Robert Finley, “Livin’ Out A Suitcase”

Whether it’s at home or abroad, Robert Finley’s youthful exuberance has a knack for not only lighting up rooms, but people’s faces as well. On his latest batch of songs, the former sharecropper and carpenter – who got his start in music during a stint in the Army – continues that trend with 11 stories pulled from his Louisiana upbringing that include everything from the poignant “No One Wants To Be Lonely” to the cheeky and overly embellished “Alligator Bait.”

Pulling from rock, soul, blues and a whole lot of gospel, Black Bayou is easily Finley’s most personal and sonically developed record to date. His third project with Dan Auerbach and Easy Eye Sound, the record is one that came about organically, feeding on the artist’s energetic live performances with lyrics and arrangements put together on the spot in the studio with no pre-fabricated blueprint.

“When we did this album there was no pencil or paper in the room,” Finley tells BGS of the process. “The band was free to jam what they felt and I had the freedom to say what I felt. Nothing was written beforehand, it all came to life in the moment.”

Born in Winnsboro and now based in Bernice, a North Louisiana hamlet only thirty miles from the Arkansas border, Finley has excelled at living in the moment despite the fast moving world around him. That essence is what accelerates his storytelling throughout Black Bayou, particularly on songs like the aforementioned “Livin’ Out A Suitcase” and “Nobody Wants To Be Lonely,” the latter of which has the artist crooning about the elderly sitting at nursing homes around the country with no family wanting or able to keep in touch or care for them. It’s a topic that Finley doesn’t just sing about from the studio, though. He visits nursing homes in his community on a regular basis to serenade its residents.

“So many people have been forgotten,” says Finley. “Their kids drop them off and go on with their lives. I go down occasionally and perform at the old folks home in Bernice. Just take my guitar and play for 30 minutes or so, try to get them to dance, try to bring some joy to them.”

Whether in those homes or the local clubs, Finley is determined to use his platform to give back to the community that made him. In addition to never turning down a conversation or photo op, he also aims to lift up the next generation of musicians, offering support and guidance to those cutting their teeth and in need of a role model as they pursue their own musical dreams.

“I always go back whenever I’m not on tour, simply because that’s where I got my start,” says Finley. “It also gives me a chance to encourage the young artists there to pursue their dreams, because I can share how I started busking over there on the corner eight years ago and now I’m touring the world. Had I not made that first step, then nobody would even know what I was capable of doing.”

As listeners have come to expect from Finley, Black Bayou is full of lust, love, spirituality, and humor as well. Tunes like “Sneakin’ Around,” “Miss Kitty,” and “Can’t Blame Me For Trying” showcase Finley’s flamboyant and flirtatious side, which goes hand in hand with his center-stage shimmying and shaking at live shows. On the flip side, cuts like the swampy album closer, “Alligator Bait,” unravels as a spoken word recollection of a formative day on the bayou with his grandfather with a gnarly and always evolving backbeat oozing with attitude.

Together these stories make a patchwork quilt of sounds, emotions, and stories that only Finley could piece together. Calling into his North Louisiana home, we spoke with Finley — our November Artist of the Month — in detail about Black Bayou, making music with his family, the similarities between performing and preaching, and more.

What has busking taught you about performing and holding an audience’s attention?

I’ve learned that you don’t need to put all of your eggs in one basket. I’m always trying to shake it up and introduce new things to the crowd at my shows, because no matter how good a movie is, if you watch it two or three times you’re going to know exactly what happens next. It doesn’t mean it’s not a great movie, it just means you’re not going to watch something that you already know the result of. I don’t want to rehearse and be programmed to do the same thing over and over, I need to have the freedom of the spirit of the moment.

Your daughter Christy Johnson and granddaughter LaQuindrelyn McMahon both joined you on this record. What’s it mean to you to share your love for music with them?

It’s great being able to have three generations of Finleys singing together. I’ve always admired Pop Staples and The Staple Singers for him and his daughters. I have two other daughters as well, but they both work in the medical field and can’t just uproot and follow me around the world. My oldest is a licensed beautician, but put it on hold to help me pursue my career due to my sight being bad. She saw that I was determined to do it either way, so she sacrificed hers to make sure I wasn’t alone. Because of that I want to share the spotlight with her every chance I get.

She first came on during the audition process for America’s Got Talent, which was her introduction to the world. The label loved her so much that they were willing to use her on the albums. Soon we needed a second background singer, so I let Dan [Auerbach] know about my granddaughter. He and the label were immediately supportive and have been willing to [incorporate] as much of my family as possible into my career. This is mostly just me trying to open a gateway for them, because they have the potential to be bigger and better successes than me. Or at least it won’t take them 69 years to get discovered.

You’re often referred to as a bluesman, but Black Bayou could also just as easily be described as a gospel album. What are your thoughts on the dynamic between the two genres and how you’re able to tie them together on the record?

The only difference between the gospel and the blues is really the choice of words you use. The same music that you hear in the club is being played in the church and the same music that we grew up on in the church is being played in the clubs. The only difference is that if you want blues you sing “oh baby” and if you want gospel you sing “oh lord.” Other than that, a lot of the rhythms and dances are the same.

What’re your thoughts on continuing to make this type of music in the modern age?

I don’t even look at it as gospel or blues anymore. I look at it as just saying the truth. Regardless of what you’re going through, there’s someone else who’s somewhere who’s been through the same thing. The fact that they made it through gives hope that you can do it, too.

As artists, we’re blessed with fans that will pay to come see you and even take your advice home with them. The same people who go to church will not remember a thing the preacher talked about, but if they like your song they’ll remember it word for word. If you’re really trying to reach people, you’ve got a better chance to reach a lot more folks by singing than you would preaching. Nobody wants to listen to an hour and a half or two hour sermon, but they will stay around a concert for an encore. That’s why it’s so important when you have the world’s attention to tell them something positive with it.

It almost sounds like you view yourself performing on stage like a minister preaching from the pulpit?

That’s it. I can get a bigger crowd than the average preacher even though church is always free, but even then people will flock to the clubs. I’ve also sang “Amazing Grace” in nightclubs and had people put down their glasses, sing-a-long, and go to church with me. You just don’t know what people will do. Everyone’s going through something. If you stop the church people from going to the club then the club will shut down, because most of the people frequenting there are church folks from the other side of town. The problem is that while there they’re not getting the truth. They’re getting the water, but not the wine.

There’s not a better song on the album that ties these influences together than the aptly named “Gospel Blues.” Are you hypothesizing what you’ll do in heaven on it?

I’m trying to tell people not to be so judgmental. That’s why I sing, “I do drink a little whiskey, and I’ll take a little shot of wine” – because it’s better to be real with people than to try and fool them. Whether I have some whiskey [or not] isn’t going to have anything to do with whether or not I go to heaven or hell.

Another song I’ve been captivated by is “Alligator Bait.” Is that a true story?

That song was actually designed more or less as a joke. I never met my grandfather on either side, but I did hear stories when I was sitting around with my dad and his brothers about things like that. It seemed like I had a cruel, cruel grandfather, but that wasn’t the message I was trying to convey. I was trying to prove that any song where you think you’re right needs to be like you just read a novel. It needs to tell a story. It’s more about being a convincing writer than deceiving.

On the cover of Black Bayou is the pond that I used to swim in and got baptized in. For a while it’s just been deserted, but we went back there, because it conjured up a lot of those childhood memories. Even just standing there taking photos my mind flashed back to the things we used to do there like swimming on one end and fishing on the other. Us jumping in the water would scare the fish over to the other side where they could get caught easier, which in many ways is similar to how the alligator is lured in the song.

What has music taught you about yourself?

It’s helped me to find and be myself. I used to try imitating everyone from James Brown to Ray Charles, but soon I realized that the only person I could be the best version of was myself. Nobody can beat you being you. If you just be yourself then you’re automatically different from everybody else anyway. Being real with myself and my music has opened so many doors for me, because of that.

Photo Credit: Jim Herrington

LISTEN: Lake Street Dive, “Neighbor Song” (Feat. Madison Cunningham)

Posted on by Justin Hiltner

Artist: Lake Street Dive
Hometown: New York City, New York
Song: “Neighbor Song” (Featuring Madison Cunningham)
Release Date: October 6, 2023
Label: Fantasy Recordings

In Their Words: “Madison Cunningham is an extremely special musician, the kind who can make a single note sound like music and who breathes life into every song that she comes into contact with. We feel so honored to have had her join us on one of our songs. We first recorded ‘Neighbor Song’ in 2010, shortly after a few of us had moved to Brooklyn. The song narrates an experience, all too familiar to many New York City apartment dwellers, of overhearing your neighbors making love. Involuntarily bearing witness to such intimacy inspires a potent mix of emotions from annoyance to despair to compassion. It’s a fun song to play live because we get to walk the audience through this emotional journey. Some audiences laugh a lot when we play it. Some cry a lot. In preparing to do this song on tour with Madison, we came up with a new musical treatment for the song to bring out some different sides of those emotions. We recorded it with Madison in Brooklyn, live in one room in a single take. We hope it makes you laugh and/or cry!” – Lake Street Dive

Photo Credit: Shervin Lainez

WATCH: Melody Walker, Crys Matthews & Heather Mae, “Room”

Posted on by Justin Hiltner

Artist: Melody Walker, Crys Matthews, Heather Mae
Hometown: Melody – Bay Area, California; Crys – Richlands, North Carolina; Heather – Washington, D.C. Area
Song: “Room”
Release Date: September 15, 2023
Label: AntiFragile Music

In Their Words: “‘Room’ started as a conversation between me and my co-writer, Sarah Potenza, about the enduring underrepresentation of women and other marginalized folks on festival lineups, but it blossomed into so much more. The ways that women and woman-aligned people are expected to not take up space in the world: to not be fat, loud, queer, creative, assertive, and are definitely not to band together in solidarity to fight against our own oppression. Community and joy are the keys to liberation, and this song celebrates both. I am so glad my faves Heather and Crys were down to come bring it to life with me.” – Melody Walker

“The first time I heard the demo of ‘Room’ that Melody sent me, I had tears in my eyes by the time it got to, ‘Your win is mine, I’ll root for you.’ As a Black, Butch-of-center lesbian in the Americana and country genres, it rarely feels like there is room for women in general, and especially not for women like me. Getting to lift my voice alongside Melody to echo the powerful sentiment contained within this song was an absolute honor. I hope it empowers women and girls to advocate for one another on and off the stage.” – Crys Matthews

“This song is so much more than just an all-woman collab. ‘Room’ stands as a celebratory rallying cry against the enduring patriarchal norms that fuel female rivalry. There persists this notion that there’s only one seat at the table and, when women scan the music industry’s landscape, you can see why we’d be forced to think that. It’s 2023, and a woman has yet to secure a Grammy for Producer of the Year. Examine festival lineups and you’ll see a stark gender imbalance in the representation of male and female artists. This scarcity of ‘room’ forces us into a perceived competition, when in reality, our struggle should be directed at dismantling the system that pits us against one another.” – Heather Mae

Track Credits: Written by Melody Walker & Sarah Potenza

Vocals: Melody Walker; Heather Mae
Vocals and Guitar: Crys Matthews
Slide Guitar: Jacob Groopman
Bass: Michael Majett
Drums: Alex Bice
Keys: Jen Gunderman
Additional Guitars: Dan Knobler
Produced by Dan Knobler

Photo and Video Credit: Kaitlyn Raitz
Filmed live at Sound Emporium Studios, Nashville, TN