Tag: soul

BGS Celebrates Black History Month (Part 2 of 2)

Posted on by Justin Hiltner

We invite our readers to celebrate Black History Month as we always do, by denoting that celebrating Black contributions in bluegrass, country, and old-time — and roots music as a whole — requires centering Black creators, artists, musicians, and perspectives in our community daily, not just in February.

Over the past year we’ve recommitted ourselves to fully incorporating Black Voices into everything we do and we hope that our readers and listeners, our followers and fans, and our family of artists constantly celebrate, acknowledge, and pay credit to Blackness and Black folks, who we have to thank for everything we love about American roots music.

Following a look back on our BGS Artists of the Month, Cover Story, and Shout & Shine subjects, we close our listicle celebration of Black History Month this year with a sampling of some of the most popular features, premieres, music videos, Friends & Neighbors posts, and 5+5 interviews that have featured Black, African American, and otherwise Afro-centric music. We are so grateful for the ongoing, vital contributions of Black artists, writers, creators, and journalists to American roots music and we’re proud to pay credit exactly where it’s due, in this small way.

Black history is American roots music history and all of these incredible folks certainly prove that point.

An edition of our Roots on Screen column featured an interview with Branford Marsalis and dove into his soundtrack for the new Netflix film based on August Wilson’s 1982 play, Ma Rainey’s Black Bottom.

Bona fide soul man Jerry “Swamp Dogg” Williams took us behind the scenes of his album, Sorry You Couldn’t Make It, showing humorous, casual, candid moments from the project’s creation — and giving us all the opportunity to be there, even though we “couldn’t make it.”

Sabine McCalla simply blew us away with her Western AF video session of an original, “Baby, Please Don’t Go,” last year, and we were ecstatic to include her on the BGS Stage lineup for Cabin Fever Fest last weekend, too.

Joy Oladokun’s vision and determination, and her unrelenting trust in both, paid off on a texturally varied second album, in defense of my own happiness (vol. 1), a self-produced exercise in vulnerability and subject of a feature interview. Oladokun will perform a few of her folk-pop songs as part of our Yamaha Guitars + BGS Spotlight Showcase during Folk Alliance’s virtual Folk Unlocked conference this week, as well.

The preeminent hip-hop-meets-bluegrass band, Gangstagrass, stopped by for a 5+5 and to plug their latest, No Time for Enemies. Gangstagrass were another excellent addition to our Cabin Fever Fest lineup and we look forward to being able to catch them in-person again, soon.

To mark Juneteenth 2020, we published a thoughtful round up of new movement music, a sort of patchwork soundtrack for protest, struggle, civil rights, and progress including songs by Leon Bridges, Chastity Brown, Kam Franklin (listen above), and more.

We were ecstatic to feature Valerie June, Rhiannon Giddens & Francesco Turrisi, Ben Harper, and Yola during our five-episode virtual online variety show, Whiskey Sour Happy Hour, last spring. The show raised over $50,000 for COVID-19 relief — through MusiCares and personal protective equipment via Direct Relief. WSHH season 2? We want that to happen, too! Stay tuned.

Pianist Matt Rollings’ collaboration with Americana-soul duo The War & Treaty was — UNDERSTANDABLY — a mini viral hit, taking off on our social media channels.

Rhiannon Giddens also powerfully and captivatingly warned all of us not to call her names with a new song recently: “The framework in the song is a love affair, but it can happen in any kind of connection,” she explained in a press release. “The real story was accepting my inner strength and refusing to continue being gaslit and held back; and refusing to keep sacrificing my mental health for the sake of anything or anyone.”

We visited once again with now mononymous Kenyan songwriter, Ondara, whose pandemic album, Folk n’ Roll Vol. 1: Tales of Isolation, kept many of us company during sheltering in place.

Speaking of which, Crys Matthews and Heather Mae didn’t let guidelines around social distancing keep them down, as evidenced on “Six Feet Apart.”

Our country-soul queen, Yola, wowed all of us with a Tiny Desk (Home) Concert and some acoustic renderings of her resplendent countrypolitan songs.

As did veteran bluesman Don Bryant, who after a lifelong career writing and recording earned his first Grammy nomination in 2020 for You Make Me Feel, a record that is nothing less than a physical incarnation of rhythm and blues. His Tiny Desk (Home) Concert is entrancing.

Selwyn Birchwood rightly reminded blues fans that it isn’t all sad; in fact, if you aren’t partying to the blues you’re doing it wrong. Just listen to “I Got Drunk, Laid and Stoned” to find out.

Leigh Nash and Ruby Amanfu joined forces on a Congressman John Lewis-inspired number entitled “Good Trouble” just last week, a perfect song to mark Black History Month.

Last year, to mark Women’s History Month (coming up again in March!) we spotlighted the huge influence and contributions of Elizabeth “Libba” Cotten, a folk singer and picker famous for playing her guitar left-handed — and upside down and “backwards!” Though Cotten spent most of her adult life working as a housekeeper, her original folksongs and her idiosyncratic picking style still inspire bluegrass, old-time, and blues musicians alike.

Country singer-songwriter Miko Marks returns this year with new music for the first time in thirteen years, after effectively being shut out of Music City and its country music machine because of her Blackness. A recent single release reclaims “Hard Times,” a song composed by Stephen Foster, who was an American songbook stalwart and folk music legend who performed in minstrel shows and in blackface.

Chris Pierce challenges his listeners with a new song this month, “American Silence,” because as he puts it, “It’s important to not give up on reaching out to those who have stayed silent for too long about the issues that affect those around us all.” A timely reminder to all of us — especially those of us who are allies and accomplices — as we approach the one-year anniversary of this most recent racial reckoning in the United States.

And finally, to close this gargantuan list — which is still just the tip of the iceberg of Black music in bluegrass, country, and Americana — we’ll leave you with a relative newcomer in country-soul and Americana, Annie Mack. Mack’s gorgeous blend of genres and styles is anchored by her powerful and tender voice and we were glad to be stopped in our tracks by her debut EP, Testify. 

Editor’s Note: Read part one of our Black History Month collection here.

Photo credit (L to R): Chris Pierce by Mathieu Bitton; Elizabeth Cotten; Annie Mack by Shelly Mosman.

WATCH: Judith Hill, “Baby, I’m Hollywood!”

Posted on by Editor

Artist: Judith Hill
Hometown: North Hollywood, California
Song: “Baby, I’m Hollywood!”
Album: Baby, I’m Hollywood!
Release Date: March 5, 2021
Label: Regime Music Group

In Their Words: “‘Baby, I’m Hollywood’ is a defining statement for me. It sums up all of the drama, love, and pain that surrounds my life as an entertainer. I personify Hollywood as a woman who has become her own rock in spite of a very unstable world. She will take all of the pain and turn into the performance of her life because that’s what she was born to do. The show is not only a spectacle but a service because it puts words, music, lights, and costumes to our secrets and inner battles, giving them a safe place to live.” — Judith Hill

Photo credit: Jeremy Jackson

WATCH: Amythyst Kiah, “Black Myself”

Posted on by Editor

Artist: Amythyst Kiah
Hometown: Johnson City, Tennessee
Single: “Black Myself”
Release Date: February 19, 2021
Label: Rounder Records

In Their Words: “‘Black Myself’ is the first song I’ve written that was confrontational. I’d always made it a point to sing songs that anybody could relate to, but this was something that had been welling up inside me for a long time. The reception of the song so far has given me hope that there are people out there who are ready to confront the shared trauma of racism, to look within ourselves and see how we might be perpetuating racist beliefs, and to do what is needed to create equality for all people.” — Amythyst Kiah

Photo credit: Sandlin Gaither

From Homemade Tapes to Hip Hop, Black Pumas Share Their Influences (2 of 2)

Posted on by Editor

Heading into the Grammy Awards this year, Black Pumas are competing for three trophies, two of them in high-profile categories. Their breakout single, “Colors,” is up for Record of the Year, while Black Pumas (Deluxe Edition) will vie for Album of the Year. Their third nod, with “Colors” in the Best American Roots Performance category, reflects the duo’s affinity for soul and folk music, as well as the way they blend genres without losing the groove or the message. The recognition also follows their 2020 win from the Americana Music Association as Emerging Act of the Year.

From their home base in Austin, Texas, Black Pumas’ Eric Burton and Adrian Quesada caught up with BGS by phone, speaking about the music that shaped them, trusting their instincts, and the message they’d like to send out in 2021.

Editor’s Note: Read part one of our Artist of the Month interview with Black Pumas.

BGS: One of my favorite songs on this album is “Fire.” To me, it has a message of encouragement. What sparked the idea to write that song?

Eric: “Fire” was one of the tracks that Adrian first sent me. Adrian has such a brilliant way of making music that feels almost visual and vivid, almost cinematic, so when I got it, I couldn’t help but be moved to allow the song to inspire lyrics. At the time I was living with a girlfriend who was going through some health issues. She had an autoimmune deficiency and I was encouraging her to call on me. That you don’t have to feel like you’re overbearing or too much was the message that I made universal on the song “Fire.”

And lastly, with that song specifically, the funny thing was, before this I had never sung to another man on the phone. But this was one of the first songs that I was inspired to write lyrics to. When I get an idea, I like to show my friends almost right away. I called Adrian right away, not even meeting him yet. I called him and I said, “Hey, man, check this out!” I turned the song up and I started singing the melody and a few lyrics here and there, showing where it was moving, so I could integrate the space. It was really interesting to show Adrian that, and I was glad we were able to finalize the idea.

Adrian, what was going through your mind when you heard Eric sing in person, in the same room at the same time?

Adrian: Goosebumps. Trying to play it cool and not get too excited. I tried to play it off, but yeah, I knew that it was going to be a special thing, but I hadn’t heard it in the room. There was obviously a spark there, so it was just a matter of containing my enthusiasm and not getting too ahead of anything — until I finally broke down and said, “All right, man, we have to play this stuff live. Are you into doing that?” And he was like, “Yeah, let’s do it.”

It seems like you guys are in tune with your instincts. How important has that been to the success of Black Pumas?

Eric: It’s hard to put too much pressure on ourselves regarding what others are going to think about us. As opposed to trusting how easy it is to know what moves you first. It’s much more of an easygoing experience making music if you’re doing it to move yourself, knowing that what moves you has a really good chance of moving someone else. As Adrian mentioned earlier, when we started making music together, it was to have fun. We really dug what we were doing and we just kept doing it, and it turned into what it is now. Regardless if anyone was listening to the music or not, we would probably be making music every other week or so, because we enjoy doing it together. Hopefully like what we having coming up next, but if not, I think we’ll still be making music. It won’t crush it.

Adrian, who are some of your favorite guitarists?

Adrian: I personally have gravitated more toward rhythm players, and the finesse and nuance that goes into something like that. Recently I’ve been getting into Cornell Dupree, who played on thousands of recording sessions. He was in Aretha Franklin’s band for a long time and played with Donnie Hathaway and all the classic soul recordings. He’s an unsung hero of the instrument, and of the genre, too, because he didn’t always get all the shine. I don’t know if you saw that Aretha movie, Amazing Grace, from a few years ago that finally saw the light of day. I saw him playing on there and it was like, “Oh, man!” He never got that much attention, but I just started going down the rabbit hole of looking up YouTube videos.

Eric, I read that you grew up listening almost exclusively to gospel music. Is that right?

Eric: Not necessarily. My family comes from the church, and my grandparents were missionaries, so it was part of what was around, but for the most part, my family are also very artistic – musicians and writers. I would listen to my uncle write songs. He would pull out tubs and tubs of little tapes, and I would pop in one of his tapes once in a while and listen to his songwriting process. As a young kid, that was one of my toys, if you will. That’s pretty much how I learned to write music, listening to an uncle who had a really heavy hand in raising me, bringing me up, especially as an artist. For the most part, I would either hear whatever was on the radio in California, but most intimately it was through my uncle’s songmanship and his songwriting.

Adrian, who did you grow up listening to?

Adrian: I grew up listening to whatever was on MTV. I was really influenced by that. I was an only child and I was home by myself a lot. I grew up in South Texas and didn’t have a lot of places to get music from. So, when I discovered MTV, it turned me on to a lot of stuff, everything from hair rock bands to Nirvana and that whole sound. But the one thing I was really into, that had the biggest influence, is hip hop music, which I discovered through one of my neighbors who would always be playing stuff outside when they would be playing basketball. … I don’t know exactly what it was about the sound of hip-hop, but as I discovered the source of a lot of it, there was jazz and soul and funk at its core. And later on, I started getting into that music. I realized there was *that* underneath, hiding there for me to discover.

Looking ahead, what would be the best-case scenario for you in 2021? What would you hope that this year brings for you?

Eric: That we get to continue to create time and space to do exactly what we really love to do, which is to create music. We’re very fortunate that we’re seeing the opportunities we’re seeing now because people are buying the music and supporting us. Individually I look forward to creating more with Adrian, one, and also I just bought a house so I look forward creating somewhat of a studio set-up to can get into production myself.

Adrian: Yeah, I’ll second that — just the opportunity to put some new music to tape and get some out this year.

Eric: Lastly, I’ll speak for both of us briefly and say thank you [to our fans]. Thank you so much for listening to our music, for supporting us. We miss you guys, we love you guys. You guys fuel our passion and we look forward to continuing to be honest in the studio, together, that we may take what comes from our heart to allow it to move you guys’ heart.

Photo credit: Jackie Lee Young

Blending Folk and Soul, Black Pumas Gain Grammy Attention (Part 1 of 2)

Posted on by Editor

About four years ago in Austin, Texas, Eric Burton and Adrian Quesada were recommended to one another through a mutual friend — someone who could imagine the inevitable magic of pairing Burton’s magnificent singing to Quesada’s cool, pulsating productions. Although these two musicians didn’t know each other, they somehow needed each other. As a songwriter inspired by folk music and soul music alike, Burton sought a vehicle to carry him from busking to the bigger stage, while Quesada — already a Grammy winner for his work with Grupo Fantasma — sought that voice to flesh out the instrumental tracks he’d crafted in his studio, Electric Deluxe Recorders.

Nobody could accuse them of rushing it, as phone calls turned into studio collaborations, and ultimately a few gigs at the South Austin venue, C-Boy’s, just to show their friends what they were working on. However, once the secret was out, the lines to see them perform stretched around the block and Black Pumas promptly landed a recording contract, with a self-titled debut album landing in 2019. Since then, their partnership has led to four Grammy nominations, a trophy for Emerging Act of the Year from the Americana Music Association, an invitation to perform a song for the Biden-Harris inauguration, and even a Super Bowl commercial. In conversation, they are quick to credit each other with the sonic touches that have turned this intriguing duo into an international draw.

For the first part of our two-part Artist of the Month interview with Black Pumas, Burton and Quesada chatted with BGS about the roots of “Colors,” their first show together, and what the Austin music community is really like.

(Editor’s note: Read part two here.)

BGS: Finding the acoustic version of “Colors” was such a nice surprise. What kind of vibe were you going for when you recorded that version?

Eric: I think that the first time Adrian heard “Colors” was when I brought the guitar to the studio. I had been trying to record that song with different engineers and producers, and a lot of my friends would reflect that, “Man, the acoustic version has always been my favorite!” When I finally met Adrian, who was equally moved by the song, we were able to not necessarily think about it, really. Adrian started with a palette of sound that went hand in hand with the way that I write music as well. We just did it together and it came out how it did. We have amazing band members and we were able to just press record and do the thing.

Adrian: We recorded quite a few acoustic things, and as much as “Colors” is a Black Pumas performance, at the core it’s something that Eric wrote on acoustic guitar. So whenever you get to hear it like that, it’s more from the source.

I love the acoustic version of “Fast Car,” too. What was going through your mind when you heard that on playback for the first time?

Eric: You know, any time I play that song, a tear comes to my eye because it is one of a few covers that I knew when I was busking. It was a song that would move people to stick around, or tip, or want to engage after the song. So, it was an interesting feeling listening back to that song as a Black Puma, with Adrian Quesada, because I could feel how far I’d come from busking on the Santa Monica Pier to recording at Electric Deluxe.

Is there a lyric in that song that still tugs at your heart when you sing it?

Eric: The lyric that I really attach to is “You’ve got a fast car and I want a ticket to anywhere.” The first lyric is one of the most powerful lyrics. It sets the emotional canvas for the rest of the song. It’s just reflective of the strong desire in many people who start off in the troubadour style of playing and performing, a presentation to passersby.

Adrian, how did you approach that session, being a classic song that everybody knows?

Adrian: Oh man, I just tried to stay out of the way, honestly. Eric’s played it for so long and so well. We were going to work up an arrangement for the band to start playing it at our shows, but we didn’t get it together in time, so he just did it himself as an encore one night. All of us were watching from the side of the stage. It was like, man, why would we try to reinvent the wheel? I just try to complement the song, and the way that Eric emotes it is something that doesn’t need a lot. You don’t need to overthink it.

I love the falsetto on songs like “OCT 33.” It’s effective because you don’t use it all the time. Did you have to figure that out naturally? Or was there ever a conversation like, “Whoa, too much falsetto”? Or, “I think we need more”?

Eric: Honestly I come from playing folk music. I love Neil Young and Bob Dylan and dig on the Beatles — so when I first started playing music, I was playing acoustic folk soul music. When I got Adrian some tracks, I was living with a roommate and he was saying, “Hey man, I think you’re singing a little bit soft on these songs.” I said, “What do you mean?” And he’s like, “Just go back and listen to Wilson Pickett and Marvin Gaye and Otis Redding,” and when I did that, I was able to kind of integrate the way Marvin Gaye did that head voice, like, “Oooh!” That’s kind of his move. So, I was able to borrow some of the razor-sharp vocal sounds that you hear in these individuals to make some better paints for the canvas that was Adrian’s awesome production.

Adrian, you have a great vocal range to work with. What is that like for you as a producer, knowing you could take these arrangements anywhere?

Adrian: Yeah, I’m a big fan of the falsetto, but I was digging everything he was throwing out. So, when he goes falsetto, I go for it. When it’s not falsetto, unless I feel like it doesn’t work, I just let Eric’s instincts guide him, and what he feels like singing.

What do you remember about the first show you played together?

Eric: It was amazing, right? It was rad.

Adrian: We didn’t even rehearse a lot. We threw it together in a couple of days and we didn’t know what we were getting into. I remember thinking, like, “All right, this should be fun. Worst case scenario, we could drink some liquid courage before the show and have fun. But it completely surpassed my expectations and it was a blast, man. Those early shows we did at C-Boys still live in my memory as some of the best times.

Why did C-Boys seem like a good place to kick this off?

Adrian: It feels like a cool, downhome, neighborhood bar that has amazing music. Steve Wertheimer, who’s the owner, really believed in myself and Eric early on. It’s a competitive town for live music and he’s always been a huge supporter. We just sent him a song and he dug it, and gave us a residency. It was pretty amazing that he took a chance on it. Eric did a solo residency for a while at one of his other venues. He was always a big supporter.

Tell me what you mean when you say that the Austin music scene is competitive.

Adrian: I would say “competitive” in the way that there’s a lot of talented people, but not “competitive” in a way that’s cutthroat, you know what I mean? I feel like there’s a good support system, where everybody’s supportive of people. It’s not competitive in that way. It’s like, you better bring something to the table because there are a lot of people that play and are very talented.

So when this was all happening, were you thinking of a record deal and management and all that? Or was it more about just getting together to play?

Eric: I think we were just both stoked to get on a stage. At that point, we had spent a few months together in the studio. Adrian presented some instrumentals that he was working on, for me to then write songs over. And then I was introducing myself to Adrian through my songwriting and sharing some of the music that I came up with, for him to arrange around. We were having so much fun that we were saying, “Well, we should take this to the stage, just to see what our friends think about it. I don’t think either of us invited too many people to the show, or promoted it, or anything big like that. We were just curious about how it would go over with the people that we know.

Adrian: We just played and we weren’t thinking industry. We were just going to have fun. Originally we thought we would maybe play for a month or two. We didn’t have a big plan other than to play music. We didn’t think that far into the future. We thought, “We’ll do this until it’s not fun.” There wasn’t a detailed, long-term plan for anything. One thing was just leading to another.

Editor’s Note: Read the second half of our interview with Black Pumas here.

Photo credit: Jackie Lee Young

The Show On The Road – Blind Boys of Alabama

Posted on by Shelby Williamson

This week on The Show On The Road, in honor of Black History Month, we bring you a conversation with members of foundational gospel group, The Blind Boys Of Alabama, including longtime singer Ricky McKinnie and beloved senior member Jimmy Carter, who has been with the group for four decades.

LISTEN: APPLE PODCASTS • SPOTIFY • STITCHER

Formed in the late 1930s with talent discovered at the Alabama Institute For The Negro Blind, the Blind Boys of Alabama have superseded limitations to bring their own high-spirited version of jubilee gospel throughout the world. Their music was often the backdrop to the Civil Rights Movement as Martin Luther King Jr. toured the south, and Jimmy and Ricky are both amazed and grateful that their message is still ringing true throughout the latest iteration Black Lives Matter movement that grew during the tumultuous last year.

While the members of the band have changed through time, the group has stayed steadfast to preserving a kinetic, church-based music that doesn’t seek to evangelize, but can bring people of all faiths together. Indeed, watching Jimmy and the other bespectacled members walk with hands on each other’s shoulders into the youthful crowds of adoring festival-goers, from Bonnaroo to Jazzfest, is really something to behold.

The Blind Boys’ body of work continues to grow. In the last few decades they’ve gamely collaborated with a wide range of secular artists from Peter Gabriel to Ben Harper to Bonnie Raitt, they made an album produced by Justin Vernon, AKA Bon Iver (2013’s stellar I’ll Find A Way), and they shrewdly reworked the ominous Tom Waits classic, “Way Down In The Hole,” which became the theme for HBO’s The Wire.

Their newest full length album, Almost Home, is a particularly moving treatise on morality and mortality. It features songs written by Marc Cohn, Valerie June, The North Mississippi All Stars and many others and was the last record that longtime member and bandleader Clarence Fountain was a part of before he passed away. He was a member of the Blind Boys of Alabama for nearly sixty years.

As Jimmy playfully mentions throughout our conversation, the Blind Boys of Alabama never let being blind stand in the way of doing what they do best: putting on a show. They’re entertainers at heart and it’s no small feat that they’ve brought a nearly lost form of swinging, soulful (and expertly arranged) gospel from the small southern towns where they grew up, all the way to the White House, where they’ve held court for three different presidents. And they’ve won five Grammy Awards along the way.

Stick around to the end of the episode hear their rich cover of Bob Dylan’s “I Shall Be Released.”

Photo credit: Jim Herrington

WATCH: Miko Marks, “Hard Times”

Posted on by Editor

Artist: Miko Marks
Hometown: Flint, Michigan
Song: “Hard Times”
Album: Our Country
Release Date: March 26, 2021
Label: Redtone Records

In Their Words: “This is our arrangement of an 1854 song by Stephen Foster. Those who know about Foster’s involvement with minstrel shows earlier in his life may wonder why I would include a song of his on my album. Much of his success came through the appropriation of Black culture and music, and for me this felt like an opportunity to take a song of his and reclaim it through my own voice as a Black artist. It was also a way for me to pay tribute to Mavis Staples, whose arrangement of this song is absolutely gorgeous. The lyrics also have particular significance that I think everyone can relate to because of the hard times we’ve been going through this year. I love the melody and the mood. It’s sweet, sad, and hopeful all at the same time.” — Miko Marks

Photo credit: Beto Lopez, Mooncricket Films

The BGS Radio Hour – Episode 197

Posted on by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, the show has been a weekly recap of all the great music, new and old, featured on BGS. This week we’ve got new releases from so many amazing artists on the roots scene today, from Luke Combs to Langhorne Slim to Sierra Hull! Remember to check back every Monday for a new episode of the BGS Radio Hour. 

APPLE PODCASTS, SPOTIFY

Luke Combs and Billy Strings – “The Great Divide”

Luke Combs, of country radio stardom, teams up with bluegrass-favorite Billy Strings this week for a new single. “The Great Divide” was written by the duo for Combs’s bluegrass album, one that he hasn’t completed yet. However, both artists agreed that the time to release this song was now, attempting to shine a light of hope in this tough time.

Allison Russell – “By Your Side”

Singer/frontwoman of the Birds of Chicago, Montréal-based Allison Russell brings this Sade cover to the show this week. What she calls an “endlessly expansive and inclusive song of love,” this song brings comfort to Russell – as it does to us, as well.

Jaelee Roberts – “Something You Didn’t Count On”

Nashville-based Jaelee Roberts is one of the quickest rising stars in bluegrass music. Her first single on Mountain Home Music Company, an original song co-written with Theo MacMillan (of Theo and Brenna), brings big promises of more great music to come.

Twisted Pine – “Amadeus Party”

A 5+5 guest this week is none other than Jim Olsen, president of Massachusetts record label Signature Sounds. Celebrating 25 years of the label, and the so many great artists presented by it, Olsen brings us the Golden Age playlist – which includes this jam from Twisted Pine.

Dale Ann Bradley – “Yellow Creek”

Kentucky-based Dale Ann Bradley brought us a new album this weekend! While you may remember her from former BGS Artist of the Month Sister Sadie – an all-female bluegrass supergroup – Bradley is stepping away from the band in 2021 to celebrate this new solo album, just one of so many in her extensive catalog.

Karen Matheson – “Glory Demon”

“Glory Demon” comes from Brewers Dictionary of Phrase and Fable. “It means war,” Matheson tells BGS. But, this is an anti-war song from the Scottish artist, one about how we never learn and life just keeps endlessly repeating itself.

Black Pumas – “Colors”

The Black Pumas are our February Artist of the Month here at BGS! You may recognize them from the Biden inauguration, where they performed this song from their 2019 self-titled album. Stayed tuned all month long, where we’ll be featuring exclusive content on the Black Pumas!

Langhorne Slim – “Mighty Soul”

This week on The Show On The Road podcast brings us a conversation with Sean Scolnick – known mostly by his alter-ego, Langhorne Slim. Host Z. Lupetin caught up with Slim to talk about his new album, Strawberry Mansion, creative funk, mental health, and more.

FRETLAND – “Could Have Loved You”

From Snohomish, Washington, Hillary Grace Fretland (of FRETLAND) catches up with BGS this week on a 5+5 segment – that is 5 questions, 5 songs. We talked favorite memories from being on stage, influences, and songwriting techniques.

Valerie June feat. Carla Thomas – “Call Me A Fool”

From her upcoming The Moon and the Stars: Prescriptions for Dreamers, Valerie June brings us this song that she dedicates to us all. Produced by June and Jack Splash – whose resume includes Kendrick Lamar, Alicia Keys, and John Legend – this album makes it clear to June why she makes music.

Mike Barnett feat. Cory Walker – “Hybrid Hoss”

Nashville-based fiddler Mike Barnett brings us this Bill Monroe twist-up from his upcoming duets album, +1. The record was slated for a fall 2020 release, until Barnett suffered from an unexpected brain hemmorage. After multiple successful surgeries, he is doing well and recovering in extensive rehab where he is reconnecting his brain and fingers. So in listening to this piece of amazing music, let’s all send our best wishes to Mike Barnett and his family. You can support Mike Barnett’s recovery here.

Sierra Hull – “King of Anything (Live)”

From last year’s Whiskey Sour Happy Hour, this week we’re featuring Sierra Hull’s performance of this Sara Bareilles pop-hit. The Nashville-based singer and songwriter just released Weighted Mind (The Original Sessions), an EP made up of the demos for her 2016 release, Weighted Mind. 

Fort Frances – “Fits and Starts”

“Time traveled on a superhighway,” Chicago-based singer and songwriter tells BGS of the world before the pandemic, “but since March, we’ve all been in a traffic jam.” David McMillin of the group suggests that getting a break from all that movement is actually a good thing, however. This song is all about hitting that pause button.

Jon Stickley Trio – “Future Ghost”

The Jon Stickley Trio is one of the most exciting instrumental, “jamgrass” groups on the scene today. Made up of drums, flatpick guitar, and fiddle, they continue to push the boundaries of instrumental roots music, while being a festival favorite across the nation. This week, they bring us this new single on Organic Records.

Langhorne Slim – “Morning Prayer”

At the end of the Show On The Road podcast episode with Langhorne, he graced us with a performance of this song, accompanied by his cat, Mr. Beautiful. What better way to end this week’s show?

Photos: (L to R) Allison Russell by Francesca Cepero; Sierra Hull by Gina Binkley; Valerie June by Renata Raksha

Whether Your Dream Is Big or Small, Valerie June Dedicates This Song to You

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Valerie June blends her roots writing and singing styles with a markedly modern production quality in her new single, “Call Me a Fool,” giving the music a fresh yet familiar feeling. The upcoming album, titled The Moon and Stars: Prescriptions for Dreamers, was produced by June and Jack Splash, whose resume includes powerhouse names like Kendrick Lamar, Alicia Keys, and John Legend.

“With this record, it finally became clear why I have this dream of making music,” says June, who was raised in Tennessee and now lives in Brooklyn. “It’s not for earthly reasons of wanting to be awarded or to win anybody’s love — it’s because dreaming keeps me inquisitive and keeps me on that path of learning what I have to share with the world. When we allow ourselves to dream like we did when we were kids, it ignites the light that we all have within us and helps us to have a sort of magic about the way we live.”

Embracing an experimental approach, Valerie June and Jack Splash recorded the project at Los Angeles and Miami studios. She notes, “For this album I wanted to see how we could bring some modern elements into that band-in-the-room approach I’ve taken with my records in the past.” To compound that marriage between old school and new, “Call Me a Fool” features none other than the Queen of Memphis Soul, Stax legend Carla Thomas. Crisp yet warm, sleek yet comfortable, Valerie June’s new music is everything we’ve been waiting for and then some. The Moon and Stars: Prescriptions for Dreamers will be available on March 12 on Fantasy Records.

Upon releasing the video, she wrote on Instagram, “Have you ever been a fool for a dream? It might have been a little dream like a kiss from a lover or a big one like the dream of peace that Dr. King, John Lennon, and so many others have had for humanity. No matter how big or how small your dream may be, keep believing, and let the world call you a fool!”

Photo credit: Renata Raksha

Courtney Marie Andrews Delivers ‘Old Flowers’ to Tiny Desk (Home) Concert

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Things have been trending straight up professionally for Courtney Marie Andrews, who earned widespread attention for the 2018 album, May Your Kindness Remain, and concluded 2020 with a Grammy nomination for her newest album, Old Flowers. Born from the close of a long-term relationship that left Andrews feeling alone and vulnerable, the album walks through the heartbreak and loneliness that she experienced in a way that is not contrived, but honest and real. In recognition of her accomplishment, she landed a Grammy nomination for Best Americana Album.

About this collection of songs, Andrews said, “Old Flowers is about heartbreak. There are a million records and songs about that, but I did not lie when writing these songs.” Although introspective records like these can be heavy to bear, critics praised the release, calling it triumphant, beautiful, and graceful. (She’s also on our BGS year-end recap.) Hear outstanding songs like “Burlap String,” “It Must Be Someone Else’s Fault,” “If I Told” and “Ships in the Night” from this brilliant and bold writer on NPR’s Tiny Desk (Home) Concert below.

Photo credit: Sam Stenson