The dynamic songwriter and multi-instrumentalist Susan Werner spoke to Basic Folk onboard the Cayamo cruise, which she describes as a “paid vacation.” Reflecting on her upbringing on a working farm, Susan discusses the hard work that shaped her, but also how she’s learning to embrace rest and relaxation. With humor and insight, she navigates the balance between a hardworking mindset and the need for downtime, revealing her strategies for managing stress and expectations in both life and music.
Susan’s latest album, Halfway to Houston, is a continuation of her exploration of a place through its music. Previous releases found her examining New Orleans and Florida. In this particular case, she is focusing on the state of Texas, including the interconnectedness of communities across borders; the song “Sisters” is about twin sister cities El Paso, Texas, and Juárez, Mexico. As a seasoned artist, Susan dives into the importance of consistency and authenticity in her craft, emphasizing that hard work alone doesn’t guarantee success – it’s about being consistently excellent. She also touches on the political landscape and how her songs aim to foster empathy and understanding, even in divided times.
Photo Credit: Lead image by Bryan Lasky, alternate image by Will Byington.
Two-time JUNO Award-winner Rose Cousins and the The Brother Brothers opened the IFMAs with a rendition of Robert Earl Keen’s “Feeling Good Again.” The night’s house band included Cousins, The Brother Brothers (Adam and David Moss), and Dean Drouillard. Cousins returned to the stage with Mary Bragg, together performing the Indigo Girls’ “Galileo,” paying tribute to the iconic lesbian folk duo to mark their Lifetime Achievement Award honor. Black-indigenous-Canadian country singer-songwriter Julian Taylor paid tribute to another Lifetime Achievement recipient, the seminal guitar picker and singer Lesley Riddle, with “Red River Blues.” Le Vent Du Nord closed the show with a live performance nodding to Songlines, an important music magazine that was also recognized with a Lifetime Achievement Award. (Stream the full awards show via FAI’s YouTube channel below.)
In the Best of 2024 categories, Susan Werner walked away with the award for Album of the Year for Halfway to Houston. Song of the Year was awarded to “$20 Bill (for George Floyd),” written by Tom Prasada-Rao and performed by Dan Navarro. Crys Matthews won the Artist of the Year Award, racking up her second IFMA.
Tom Power, host of CBC’s Q and a contributor to the BGS Podcast Network, was awarded a Spirit of Folk Award alongside fellow recipients Quebec’s Innu Nikamu festival, longtime Folk Alliance Region Midwest community builder Annie Capps, and singer, songwriter, and My Black Country author Alice Randall.
Randall shared during her acceptance speech, “In My Black Country, I tell the story of climbing out of the hell of being raped by holding on to the sound of John Prine singing ‘Angel from Montgomery.’ I write about discovering the Joan Baez Ballad Book, a double-album set of English, Irish and Scottish folk songs that became my stepping stones to joy after trauma. I owe my sanity to folk music. … On the new album, country-charting songs were stripped of pop productions that erased Black characters and muted political intent. My songs were restored to their folk roots. My book My Black Country is about the Black folk, including Black folk musicians, who made country, country…”
Tom Power poses with his Spirit of Folk Award backstage at the IFMAs. Photo by Indie Montreal.
Elsewhere in the evening’s stacked run of show, Gina Chavez was awarded the People’s Voice Award and DJs and radio personalities Archie Fisher, MarySue Twohy, Taylor Caffery, Matthew Finch, and Chuck Wentworth were inducted into the Folk Radio Hall of Fame.
The IFMAs once again spotlit the important community-building, tradition-preserving, and progress-advancing creativity of the folk music scene the world over, from artists, songwriters, and storytellers to the industry insiders and professionals who make all of this possible. See the full list of winners (in bold), nominees, and recipients below.
Artist of the Year
Flamy Grant Sarah Jarosz KaĂŻa Kater Nick Lowe Crys Matthews Allison Russell
Album of the Year
Trail Of Flowers by Sierra Ferrell The Space Between by The Heart Collectors Strange Medicine by KaĂŻa Kater All My Friends by Aoife O’Donovan Ordinary Elephant by Ordinary Elephant Halfway to Houston by Susan Werner
Song of the Year
“Tenzin Sings with Nightingales,” written by Tenzin Choegyal, performed by Tenzin Choegyal and Michael Askill “Woman Who Pays,” written and performed by Connie Kaldor “How I Long for Peace,” written by Abena Koomson-Davis, Peggy Seeger, and Rhiannon Giddens, performed by Rhiannon Giddens “Ukrainian Now,” written and performed by Tom Paxton “$20 Bill (for George Floyd),” written by Tom Prasada-Rao, performed by Dan Navarro
Lifetime Achievement Awards
Indigo Girls Lesley Riddle Songlines magazine
Julian Taylor performs a tribute to Lesley Riddle at the 2025 IFMAs. Photo by Indie Montreal.
The Clearwater Award
River Roads Festival, presented by Dar Williams, Laudable Productions, the Connecticut River Conservancy
The Spirit of Folk Awards
Tom Power Alice Randall Annie Capps Innu Nikamu festival
The People’s Voice Award
Gina Chavez
The Rising Tide Award
OKAN
Folk Radio Hall of Fame Inductees
Archie Fisher MarySue Twohy Taylor Caffery Matthew Finch (posthumous) Chuck Wentworth (posthumous)
All photos courtesy of Folk Alliance International, shot by Indie Montreal. Lead image: Crys Matthews, L; Alice Randall, R.
Welcome to the playlist you probably didn’t have on your bingo card this year: a series of songs spanning from gospel music to ’90s folk to contemporary singer-songwriters, all curated by a drag queen with a number one Christian album under her belt. I’m Flamy Grant, and I’m honored that BGS invited me to share the songs that healed my very gay, very religious trauma.
My first record was called Bible Belt Baby, so I know a thing or two about growing up in the shadow of a religious fervor that wants boys to be boys, girls to be girls, and gays to keep it in the closet. Here are a few of the songs that helped me not only to come out, but to let this little light of mine keep shining in the faces of a lot of people who’d prefer it were hidden under a bushel. Not today, gatekeepers. Not today. – Flamy Grant
“If You Ever Leave” – Flamy Grant
Oh, hello darling. I’m a drag queen with wares to sell. Of course I’m starting off this playlist with my new single! It is, at least, very much on topic. This ballad from my forthcoming record, CHURCH, pretty much speaks for itself, but I will offer this one, brief, supplemental thought: if there’s a God demanding your worship, but as you get to know him you discover that you are capable of loving people better and more completely than he is… don’t worship that God. Girl… it’s a trap.
“Undamned” – Over the Rhine
Outside of Amy Grant, no artist has had as much of an impact on me as Ohio-based duo Over the Rhine. Karin and Linford have saved my life ten times over. “I’m not your little lost lamb, God might still get my world undamned.” This song somehow manages to be both defiant (personally, my favorite posture) and repentant. Brazenly owning your apostasy while unabashedly surrendering to a cosmic, supernatural love at the same time? Slay. (Bonus: Lucinda Williams delivers an absolutely divine featured vocal. Undamn me anyday, Over the Rhine.)
“Wrap My Arms Around Your Name” – Sarah Masen
When I was growing up, I was only allowed to listen to Christian music. Sarah Masen was always a bit of a square peg in a round Christian music industry hole, and one of the first songwriters I encountered who addressed the conflict, doubt, and dissonance inherent to the faith everyone else around her was putting such a sheen on.
From the first line, “Mystery’s walking on my head again,” I was hooked on this song about yearning to feel deeply spiritually connected. “Does hallelujah wear the same old face?” Excellent existential question, Sarah. Thanks for giving my teenage angst a place to freely ask it.
“Amy’s Song” – Matt Simons
Back in 2018, I was a worship leader for a queer-affirming church in San Diego and we decided for Pride month that year that we would put on a worship service that was 100% produced, led, and delivered by our queer members. I even wanted to make sure every song we sang had been written (or co-written, in this case) by a card-carrying member of the alphabet mafia. I found “Amy’s Song” and loved the music and the message: “Does your God really give a damn” about who I love?
The twist for me was in discovering that one of the song’s co-writers, and its namesake, Ames, and I had played a show together years before in when we were both closeted and going by different stage names. I led “Amy’s Song” at our church that Sunday and Ames and I have since reconnected online. We’ve even been talking about writing something together one of these days. “Amy’s Song 2: The Ballad of Flamy,” perhaps? (Pro tip: after you listen, go watch the music video and making-of mini-doc, both on Matt Simons’ YouTube page. Bring Kleenex.)
“breathe again” – Joy Oladokun
Honestly, it was hard to pick just one song from Joy Oladokun’s extensive repertoire of musical remedies for the religiously wronged. She is both plainspoken and poignant, capturing the heartbreak so many queer people experience when we grow up in families and cultures that suffocate us in a shame-inducing, manipulative desecration of divine love. Joy’s voice in this song just melts me, and it’s a breath of fresh air for the closeted kid I used to be when she uses it to sing, “If I hold my breath until I’m honest, will I ever breathe again?”
“Someday You’ll Wake Up Okay” – Spencer LaJoye
This is inner child work of the highest order and nobody translates the specific into the universal with such clarity as my friend Spencer. “You won’t hear me, but I’ll think it from the future.” Oof. Also, who knew healing your inner child could be such a bop?
“Holy Sunlight” – Steven Delopoulos
Something about the music of Stephen Delopoulos, who fronted the ’90s Christian band Burlap to Cashmere, just feels reverent. It’s like high-church Paul Simon. This song reminds me that even when we’re leaving, we’re really not. “Pack my luggage, fake a smile/ Don’t cry, we’re all connected like the ocean sea.”
“Faith” – Semler
No one is more emblematic of a reckoning for the Christian music industry to me than my pal Semler, who was the first out queer artist to have a number one Christian record a couple years back. In “Faith,” they are eye-level with the abusers of power in the church they’re confronting. “Don’t pretend I’m not your body.” GOOSEBUMPS, HUN. And it’s a song that somehow doubles as a powerful worship anthem of sorts for the disenfranchised? We’re here, we’re queer, and we still have faith, dear. I live.
“Shiloh” – Audrey Assad
I had stopped listening to CCM by the time Audrey got her record deal with juggernaut Christian label Sparrow Records back in 2010, so I missed most of her early career. But during the pandemic, I learned about this (wildly-talented) artist that Christian media outlets were criticizing for “backsliding.” Don’t tempt me with a good time, I said. Audrey and I have become friendly on social media since then, and she’s so much more than a good time. She’s a healer. This song in particular patches up a new part of me every time I hear it. God bless the ones who leave the church but never stop providing care for souls.
“The Way You Get Found” – Story & Tune
I’m proud to say I was the first person to ever hear this excellent song, in the basement of the San Diego house I shared during pandemic with its writers, Karyn and Ben. The line that got me then still gets me today: “I bless the way you carve your name on the gate-kept inner sanctums where they said you couldn’t stay.” Absolute pros, these two, crafting an artful turn of phrase that not only perfectly fits the demanding cadence of the song, but delivers a well-placed gut punch to folks who know what it’s like to stand up to religious bullies when they say we can’t be on their playground.
“Jacob from the Bible” – Jake Wesley Rogers
This song came through my Spotify algorithm one day and stopped me in my tracks. Of course, now Jake is a world famous colorful crooner and besties with Elton John, etc., but when this song came out, I was able to reach him online and successfully petitioned him to be on my podcast. You can still listen to that conversation. We talk about this song, where it came from, what it meant to each of us, and why Jake should definitely be our first gay president. For me, it feels like a life-giving extraction from all the oppressive weight of religious expectation. “I don’t want to be held down by a heavenly man.” Makes me think of Jacob from the Bible when he defeated the angel in an all night wrestling match. (Hot!) And honey, wrestling with God? Relatable.
“Testify to Love” – Wynonna
Okay, this might be the only bonafide CCM hit in the mix. It was originally recorded by Christian supergroup Avalon and if you were anywhere near Christianity in 1997/98, this song is In. Your. Bones. Every once in a while when I’m playing to an audience of a certain age — the ones who were in youth group about the same time as me — I’ll bust this out as a cover during my set and, well, let’s just say it’s so cute to watch half the room have a dramatic That’s So Raven-style flashback. But I propose to you that at the end of the day, it’s a gay song. I mean, the opening lyric is, “All the colors of the rainbow!” It’s all about how love wins!
What really seals the deal is Wynonna Judd’s countrified cover of the song from a very special episode of Touched by an Angel. I dare you to listen and not agree that Christianity peaked in 1997 and we should frankly just ignore everything that’s come out of evangelicalism since this song ruled the airwaves.
“House of Spirits” – Allman Brown
London-based singer-songwriter Allman Brown taps right into all of our generational trauma and father wounds with this achingly gorgeous spiritual about how it feels to sit vigil by the deathbed of a parent who “damned my soul to the fires.” As someone with a damaged and deeply strained relationship with an ultra-religious father who’s still alive, this song gives me a glimpse into the journey ahead, and I find myself praying along with Allman that one day that house of spirits “will feel like home.”
“What You Heard” – Amy Grant
An Amy Grant song on this list was inevitable, but far less likely is a song from a parent who learned better communication skills by going to family therapy with her kids. But that’s exactly what we have in this, the first new song from the Queen of Christian Pop in a decade. I saw Amy perform it last year and she told the story of how group therapy with her family helped her understand that some of the ways she thought she was communicating love to her kids weren’t exactly landing that way on their ears. It’s the kind of thing most survivors of religious trauma can only dream of: a God-fearing parent gaining perspective later in life and using therapy tools to change behavior? A better relationship through effective communication? May we all be so fortunate. But even if we’re not, my favorite diva (she would never call herself that, so someone has to) has gifted us with this beautifully-written song that shows it’s possible. Amy and amen.
“May I Suggest” – Susan Werner
I’ll leave you with the best benediction that’s ever been spoken (sung) over me. I wish someone had invited me to the Susan Werner party years ago, so I’m making it my mission to bring as many plus-ones as possible now that I’m here. Actually, in a way, I’ve been here since high school, I just didn’t know it. The first time I heard this song was as a cover by Ellis Paul and Vance Gilbert back in the late ’90s, but I just assumed it was theirs. Then about a year ago, a friend sent me a track by Susan called “Our Father,” in which she expertly/hilariously reimagines the Lord’s Prayer (“Deliver us from those who think they’re you”). I was hooked and started working my way through her catalog, but it wasn’t until I saw her live at the Kerrville Folk Festival earlier this year that I learned she was the composer of this song I loved when I was 17.
When she sat down at a baby grand and soulfully set out to convince a field full of festival-goers that “this is the best part of your life,” I openly wept. It’s tempting after you escape from oppressive, high-demand religion to fall into the trap of regret for a lost youth and years of missed chances. Susan invites us to consider the other side of that coin: thanks to the trauma you’ve survived, “Inside you know what’s yours to finally set right.” The next time Susan is anywhere near you, drag yourself (yes I said DRAG) and everyone you love to the show — and hope that she sings this benediction over you, too.
Artist:Susan Werner Hometown: Chicago, Illinois Song: “The Birds of Florida” Album:The Birds of Florida Release Date: January 9, 2022 Label: Sleeve Dog Records
In Their Words: “Last winter, a friend down here in Siesta Key said, ‘Every day now, a thousand people move to Florida. A THOUSAND.’ And from what I can tell, that number is about right or might even be too low. As a songwriter, there’s facts and then there’s the stories behind the facts, and I started thinking about the people I know who have moved here, how they left other places behind, other versions of themselves behind. The title came from guidebooks you’ll find in almost every household in the state, these full-color guides to birds. And though you may see occasional guides to The Snakes of Florida, that concept didn’t sound quite worthy of a song, or it’d be a very different song, for sure.” — Susan Werner
Artist:Susan Werner Hometown: Philadelphia, Pennsylvania Song: “To Be There” Album:Flyover Country Release Date: September 27, 2020
In Their Words: “In the early months of this year I’d been writing a ‘country’ album, and when the pandemic hit I thought, ‘Well, we aren’t the first generation to face something like this, somebody must have written a plenty good song already.’ I went through the Carter Family and Louvin Brothers and Hazel Dickens catalogs and couldn’t find anything about a flu; black lung yes, influenza no. Having written a ‘gospel’ album in 2007, I remembered that one element of the best gospel music is hope, the anticipation of something better, whether on Earth or in Heaven. And in this moment, everybody on Earth is united in hope, hope that we arrive safely on the other side of this dark time to see and embrace our friends and family, to hold them close, and for the musically inclined among us, to stand shoulder to shoulder with them and hear them singing on either side of us. That was always Heaven itself to me; I don’t know that until this year I realized it.
“I grew up in a kind of magically musical singing family; my farming parents and all six kids, we’d spontaneously harmonize in the car on the way to church, to my grandparents’ farms for holidays. We had no idea other families did not do this, by the way. I was home in Iowa this February (yes, for the caucuses) and went with my folks to church — I’m an agnostic, honestly, I just go to see friends and family and to sing with them. To my left I heard my father, to my right, my mother. Who knew that something could arise that would take that, singing, away from us? Unthinkable. So I had to weave that into the lyrics of this ‘hymn.’ Heaven might have singing angels, but I know for a fact Earth does and I can’t wait to get back in the company of others in church or on stage or in the bar, it’s all good and it’s all the work of God.” — Susan Werner
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