BGS 5+5: Bonnie & the Mere Mortals

Artist: Bonnie & the Mere Mortals
Hometown: Avella, Pennsylvania
Latest Album: Take Me to the Moon (available August 29, 2025)
Personal Nicknames (or rejected band names): I get Bonald a lot. Bon Bon, Bonners, Bonnie Romano.

What’s your favorite memory from being on stage?

Two years ago for our Halloween show, I looked out in the crowd and saw a complete stranger scream-singing along for the first time. As an artist, I constantly question what I’m doing. This is a hard path we’ve chosen that can beat you down a lot, but you can’t fabricate that moment. You’ve reached someone, you touched their lives in some way. I’ve since had that experience dozens of times and have even gotten to do a Bonnie & the Mere Mortals tattoo on a fan, but you never forget your first.

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

I truly think the difference between art forms is no wider than the difference of medium: oil or watercolor? Everything is how you choose to express your idea. I have a literature degree and I grew up in an abandoned coal town; I wanted to make music the way Southern Gothic writers like Michael McDowell made me feel. Southern Gothic is often seen as just slow Americana in a minor key, but I wanted to expand that thinking to include my experience growing up in a Southern Gothic tableau. I also dress up like a drag queen because I want the Mere Mortals to be as visual as we are musical. Our presentation is always firmly tongue-in-cheek because every murder ballad has a punch line and I never think you should take yourself that seriously.

What’s the most difficult creative transformation you’ve ever undertaken?

When I was growing up, it was the golden age of pop-country. Miss Shania Twain, Garth, the Chicks? Everywhere. I grew up on the values of Hank and “Raise Hell, Praise Dale.” Post 9/11 though, I really started to resent my upbringing. I discovered the Cure, Queen, and Bowie, and put aside Ralph Stanley. I moved to the city, came out as queer, and started a metal band. I never truly felt fulfilled though. I felt I had to hide a part of myself that made up so much of my character.

It wasn’t until I heard Gillian Welch for the first time that I started to dive back into myself and realized that I wasn’t really making art authentically. I bought a banjo and started to learn clawhammer. I rediscovered so many loves I had put aside and I began to feel myself again. I realized that what I loved about the Smiths was the same thing I loved about Jason Isbell, and I couldn’t see why they shouldn’t go together. Some of my folks couldn’t understand the transition, but they certainly do now.

What would a perfect day as an artist and creator look like to you?

Film an episode of The Muppets as a special guest and then head over to Dolly’s house to cook her a pasta dinner.

If you didn’t work in music, what would you do instead?

My day job for the last 15 years has been working as a tattoo artist. I co-own a shop in Pittsburgh called the Kindred Spirit Tattoo Co. It can be hard making it as an artist on both sides of the sun, but I feel so grateful I get to do two things I love so much.


Photo Credit: Veronica Baron

Basic Folk – Adia Victoria

For Adia Victoria, the blues are not just a genre of music or a set of formal elements. She lives the blues. In her life and work the blues are a mode of creating, a river-tradition into which she steps with each performance, and a way back into self-acceptance. Adia has traveled the world and infused her unique songwriting with Paris and New York as much as with her home state of Tennessee.

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Adia has released three studio albums, working with producers like T Bone Burnett and The National’s Aaron Dessner. In her climb to indie stardom she has remained laser focused on interpreting the blues tradition for contemporary audiences.

My conversation with Adia came shortly after we finished a whirlwind North American tour this spring, and it felt like we were back in the tour van just shooting the shit. Transparent and hilarious, Adia challenged me to go as deep in conversation as she does in her songs.


Photo Credit: Huy Nguyen

WATCH: Tim Higgins, “I Blew It”

Artist: Tim Higgins
Hometown: Greensboro, Alabama
Song: “I Blew It”
Album: BLIGHT
Release Date: February 28, 2020
Label: Folk Victorian Records

In Their Words: “‘I Blew It’ is about a disenchanted person who is trying to do his best, but knows he’s not going to succeed in the end. Whether it’s maintaining a relationship, battling addiction, or leading a cause downtown at some City Hall, for some people, it’s always futile odds. What I wanted to capture was the sense of duty someone could have to do what they believe is right even though the writing is already on the wall. To capture those kind of complex feelings and layers in one song, my producer Parker McAnnally and I let the verses stand alone with just my voice and acoustic guitar while the musical breaks sonically dip underwater, and undulate between Jack Thomason’s electric guitar and Alex Caress’ piano.

“For the music video, I worked again with Reagan Wells, who directed my last video, ‘Blight,’ and we returned to the ‘ruined finery’ theme that traverses this whole contemporary Southern Gothic album — where the line between memory and reality are blurred; I think the narrator in ‘I Blew It’ is always living between those worlds as well.” — Tim Higgins


Photo credit: Aaron Sanders Head