Tag: Texas

BGS 5+5: Joshua Ray Walker

Posted on by Editor

Artist: Joshua Ray Walker
Hometown: Dallas, Texas
Latest album: Glad You Made It (July 10, 2020)
Personal nickname: High Wide and Handsome

What was the first moment that you knew you wanted to be a musician?

I started playing tenor banjo when I was three years old, and guitar when I was five. My grandfather brought a large record collection with him to Texas from Union County, Tennessee, decades before I was born. Every day after school I used to listen to those records in his workshop and try to play along on yard sale instruments he’d find. The first time it really clicked and I could keep up with one of those bluegrass records, I was obviously too young to know then, but I’ve been chasing that feeling ever since.

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

Often. I build characters based on people I know, have met, or parts of my own personality and experiences. It took me a long time to realize that last part, but now that I know, I use it as a way to explore parts of myself I otherwise wouldn’t be brave enough to write about.

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

I would say film has the largest impact on my music. I think of my songs kind of like short stories and they play out in my head like movie scenes. Certain directors have informed the way some of these scenes play out, and the filters and angles by which I view them. Martin Scorsese, The Coen brothers, Quentin Tarantino, Wes Anderson to name a few.

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

One of my favorite parts of touring is trying the local dishes in all the places I visit. Nashville is a great food town and I have a whole itinerary of favorite spots I try to hit up every time I’m there. Fourteen-year-old me would be disappointed if I didn’t pick Jack White. He lives in Nashville, I hear we agree on where to get hot chicken in the town that invented it, and I’ve had countless near-miss encounters with him. So I pick the hot chicken basket with fries and coleslaw, extra pickles and a lukewarm Sprite with Jack White at Bolton’s Spicy Chicken & Fish!


What’s your favorite memory from being on stage?

It was December 2018 and I had just released “Working Girl” and “Canyon” in anticipation of my debut record, Wish You Were Here. I had played to fairly large crowds as a lead guitarist for other bands, but I had never played my songs live to more than about 150 people at a time and I definitely had never experienced the type of “buzz” surrounding my career prior to that point. I had a string of four preternatural shows booked that, in short, made me believe all the hard work of the previous decade was going to pay off, and instilled a confidence in me that I hadn’t had previously.

The first show was my first time playing a theater at the Kessler Theater in my hometown of Dallas, Texas. The second show was my first time opening for Colter Wall, and my first time playing solo at the Granada Theater. The third show was my first time playing the Tower Theater in OKC, opening for Colter. The last show was my first time opening for American Aquarium, and my first time at Cain’s Ballroom. Each show escalated rapidly in magnitude and capacity, and I’ll never forget how amazing and surreal it all felt.

I’m going to focus on the second show briefly. At that time, I had seen close to 100 shows at the Granada Theater, and it had been a staple in my East Dallas community for years. Spotify had just reminded me that Colter Wall and Paul Cauthen were my most listened to artists of 2018, and when I looked out into the crowd that night it seemed like I saw the face of every person who ever cared about me all in one place, singing along to my songs.

My favorite memory of being on stage actually happened right after I walked off it. I pushed my way through the heavy curtain, and what was in the tunnel waiting for me was truly unbelievable: Colter Wall, Paul Cauthen, Vincent Neil Emerson, Matt Hillyer (Eleven Hundred Springs), Summer Dean, Simon Flory, Jacob Metcalf, and others filled the hallway. They had all been watching me close the set through the curtain, and were there to congratulate me when I was done. That was one of the most heartwarming, and reassuring moments of my career and life.

Photo credit: Chad Windham

LISTEN: Evan Ogden, “These Songs and a Guitar”

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Artist: Evan Ogden
Hometown: Round Rock, Texas
Song: “These Songs and a Guitar”
Album: Undone
Release Date: July 31, 2020

In Their Words: “‘These Songs and a Guitar’ is one of the most personal songs on the album for me. It came at a point where pretty much everything in my life was falling apart. I was having to own up to the fact that the man I wanted to be and the man I was had more differences than similarities.

“There’s a passage in the Bible that weighed heavily on me for about three or four months where Jesus is addressing anxiety and worrying about tomorrow. He tells His disciples to consider the ravens and flowers of the field; He describes God taking care of their needs and claims how much more He will take care of theirs. Faith has always been a central part of my life and this passage set off a season-long struggle to find out how to come to terms with a passion I seldom understand. This song, in a lot of ways, culminates a prayer, or argument I took up with God. I was trying to work through the blessing and curse of having a passion for such an unstable gift. Admittedly, I still struggle a lot with it but this song was very cathartic in a very real sense. I hope this song gives the listener a space to be honest about the struggle we all feel when our blessings are more like anchors than feathers.” — Evan Ogden

Photo credit: Jessica Summerford

LISTEN: Monte Warden and the Dangerous Few, “Martini”

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Artist name: Monte Warden and the Dangerous Few
Hometown: Austin, Texas
Song: “Martini”
Album: Monte Warden and the Dangerous Few
Release Date: June 19, 2020
Label: Break A Leg Records

In Their Words: “As we first started playing shows, new fans would come up and enthusiastically ask, ‘What do you call this music?!’ We described is as ‘martini music.’ My wife Brandi suggested we write a big, fun up-tempo ode to the martini, so we rode over to Floyd Domino’s house and all did our best to just get the hell outta this song’s way. It’s one of those rare little gems that seemed to write itself. That line ‘country club mosquitoes’ had us all goin’ nuts. I can count on this song to always deliver a musical shovel-to-the-face at any gig.” — Monte Warden

Photo credit: Sean Mathis

Sarah Jarosz Looks to Her Texas Hometown for Inspiration (Part 1 of 2)

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After years spent living in New York City and traveling the world on tour, Sarah Jarosz has turned to a source of inspiration she’s never mined before: her hometown.

With her fifth album, World on the Ground, the Grammy-winning artist gleaned her own folktales from the everyday rhythms of her life in Wimberley, Texas. Her time away from Friday night football games and the shadows of cypress trees allowed her to look on Wimberley’s details with fresh eyes, from the Ford Escape her parents drove and the dusty trails it kicked up to conversations about out-of-reach dreams with old friends (that she examines on “Maggie,” which came from an actual heart-to-heart she had with an old friend at her high-school reunion).

Jarosz found a breakthrough in the most familiar folds of her memory, but this perspective was also molded by the city that guided her as she retraced her steps through the Texas Hill Country in her lyrics. On “Pay It No Mind,” the single that gives World on the Ground its name, Jarosz alludes to this ability to find meaning and movement at a distance: she sings of the frightening, and often destructive, churn of life in our current moment from the point of view of a “little bird stretching her wings” who takes in the chaos from the seventh floor.

“I think being able to write and make this record mostly about my hometown, in New York, from far away, was an interesting part of the process,” she says. “It’s almost what allowed me to take on the role of the little bird on the seventh floor in a way, because I think it took leaving Wimberley and being away from it for quite awhile to be in a place where I could actually write about it in this way.”

In the first half of our two-part interview, Jarosz walks BGS through the little Texas town that became her muse, how her work with bluegrass supergroup I’m With Her left an impact on her creative process, and more.

For some people, going back to their hometown is a traumatic event, a negative, damaging experience. There’s clearly a lot of compassion for the voices you explore on World on the Ground, which was inspired by your own hometown. If you were to visit Wimberley with fresh eyes, how would you describe it?

Jarosz: One of the things that stands out about it compared to other towns of its size in Texas — and I think this would be obvious, even if you’d never been there and were taking a drive through town — it seems like it’s a little more balanced. It has one high school, and one football team, and a lot of the small town culture does revolve around that, around this sort of Friday Night Lights idea of a small Texas town.

But there’s also this incredible artsy kind of community in Wimberley. One of the big draws of Wimberley is its market days, which I think happens once a month — maybe it’s every weekend in the summer, I can’t remember. Arts and crafts and even the fact that there was a bluegrass jam every Friday night, that was why I fell in love with all this music in the first place. It feels a little more balanced in that way.

I truly feel, probably in a biased way, that it’s a very magical place. A lot of people who drive through it, if they’re driving around the hill country in Texas, would agree that it’s one of the towns that stands out from the rest. It has this kind of shimmery quality to it — that’s the word that comes to mind.

I love the contrast of “Maggie,” then, in which you’re singing from the perspective of a friend of yours from high school who can’t wait to leave the small town behind. I appreciate “Maggie” because it’s a real conversation you could be having with anyone who’s stuck where they are. The location is almost insignificant, because it’s about whatever’s holding you — it doesn’t necessarily have to be the town you’re in.

Exactly. The “football games and processed food” line definitely puts it in a place, but I feel like [the song] could also be anywhere. I purposely tried to make that happen. It was such an eye-opening thing for me to actually have this conversation with this friend — we were really close friends in childhood, then just drifted apart over the years, and ran into each other at my tenth high school reunion. She actually didn’t go to my high school, she went to a different school and that’s why we drifted apart.

She was asking me about my touring and my life and everything, and I think I was probably saying, “I wish I could be in one place more. I wish I had more of a home sense at this point in my life.” She was sort of saying, “All I want is to do what you do, travel and see the world.” It’s funny how sometimes the things that seem so obvious take just a simple moment of someone saying it to your face, and then you realize, “Oh! Duh!” That really happened for me there. That song is all about empathy and compassion for anyone who wants their circumstance to be different than it is and might not necessarily have the means to make that happen, but still having the dreams to hopefully one day change.

“What Do I Do” is a companion song to that, in a way: It’s sung by someone who wants to be home more, who wants to be still for a minute. What inspired that song?

A lot of these songs feel like gifts, in the sense that I generally feel like a very, very slow lyrical writer. The music comes more quickly to me, but that song and a lot of the songs that I wrote with John Leventhal were similar experiences. If he had the music written and sent it to me, the lyrics seemed to come very quickly. “Pay It No Mind” and “Orange and Blue” were two of those.

“What Do I Do” was another one where it almost felt like a dream to write. It’s similar to “Maggie” in the sense that it’s that same sort of longing for wanting something else than what you currently have, but then it’s also a thankfulness and acceptance in that. It almost feels like a mantra-type song where it’s repeated and it goes to a different place — very simple chords in the verses, and then it opens into this washy vibe in the, “What do I do, what do I do?” It was one of those gifts of a song.

You’ve been collaborating with your friends Sara Watkins and Aoife O’Donovan for years. Now that you’ve written albums and toured together, do you hear, or did you feel, the imprint of your time with I’m With Her going into this record in a new way?

I felt it in a creative way, personally. I think all of us were just so positively influenced by that experience [of] touring and putting out that record. What that allowed all of us — I’m speaking for myself, but I’d imagine they probably feel a similar way — was just the chance to step back and take a breath. Not in a busy sense, because we were just constantly working and on tour, but creatively.

I had never been in a band before; I had only ever put out my solo records. I think after Undercurrent, I couldn’t really imagine going straight into another solo record or album push because I just wasn’t inspired to. I had reached a point where I had wanted to experience something new. There was something so rewarding about feeling like I was a part of a team. We were all on each other’s team and carrying the load together. It was just so wonderful and magical. It definitely gave me the creative juice to just be so psyched about making this record.

With Sarah and Sean making their Watkins Family Hour duo project, and Aoife making Bull Frogs Croon, I love those projects so much because [we] all seem so inspired. I think that is because we all allowed ourselves this chance to step back from our own things, be a part of a team and give ourselves the gift of this renewed inspiration, almost. I definitely felt that. I hope they do, too. I’m so grateful for them.

Editor’s Note: Read the second half of our interview with BGS Artist of the Month Sarah Jarosz here.

Photo credit: Josh Wool

WATCH: Charley Crockett, “Welcome to Hard Times”

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Artist: Charley Crockett
Hometown: San Benito, Texas / Austin, Texas
Song: “Welcome to Hard Times”
Album: Welcome to Hard Times
Release Date: July 31, 2020 (album)
Label: Son of Davy/Thirty Tigers

In Their Words: “‘Welcome To Hard Times’ is about the viewpoint of society from an outcast’s perspective. The hobo who prefers to skirt by Sin City taking it in as he passes by its outskirts. Inevitably we are compelled to play the game. In America today everyone understands the casino and that when you’re in it you have to play by the house rules. I’m a nameless drifter at the end of the day. Forced to roll the dice and get that money, but the dollar doesn’t own me. I think anybody can relate to that hustle.” — Charley Crockett

Photo credit: Bobby Cothran

Artist of the Month: Sarah Jarosz

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Sarah Jarosz heeded the advice to look outward, rather than inward, as she began to write for her fifth album, World on the Ground. Those words of wisdom came from producer John Leventhal, who told Jarosz in the studio that they would first record demos for her original songs — and, as Jarosz later realized, those no-pressure recordings often ended up on the final project.

“Because of that, I think there’s a magic that comes through in the songs,” she says. “Instead of judging myself or getting in my head too much, we were just creating true music in the moment.”

World on the Ground marks Jarosz’s full transition from a promising newcomer from Wimberly, Texas, to a cornerstone of the acoustic music community. A gifted guitarist and songwriter, Jarosz won two Grammys for her prior album, 2016’s Undercurrent, and a third for the song “Call My Name,” which she recorded as a member of I’m With Her. Now living in New York City, Jarosz still draws on her hometown experiences on songs like “Orange and Blue,” which she performed on a recent episode of Whiskey Sour Happy Hour (watch above).

“As I was writing this record, it was the deepest I’d ever gone in terms of getting down to the very specific details in the way I told each story,” she says. “The details are what make people feel something and connect the story to their own lives, and that’s really all I want for my music.”

Read our two-part Artist of the Month interview here: Part One. Part Two. And while you’re at it, enjoy our Essentials playlist, too.

Photo credit: Josh Wool

LISTEN: John Baumann, “Second Wind”

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Artist: John Baumann
Hometown: Austin, Texas
Song: “Second Wind”
Album: Country Shade
Release Date: June 5, 2020
Label: The Next Waltz

In Their Words: “When I think of myself from ten years ago, I recall a much more naive and unaware version. Blindly ambitious, I was willing to chase a carrot as far as needed, to feel validated as an artist and writer. It was before I had taken a few licks and gotten knocked down. It was before my expectations had been tempered, before my sight had been adjusted to reality. The highs and lows, the ebbs and flows. I sometimes wonder what it would be like if I could only bottle that feeling of invincibility, and take a dose of it every day for the rest of my life. It really speaks to the power of youth and the strength that people have when they are motivated. This song is about questioning your motives, where you have gone right and wrong, remembering who you can lean on, and ultimately finding how to harness that long lost feeling of unbridled motivation to push forward and find that validation.” — John Baumann

johnbaumann · John Baumann – Country Shade – 09 – Second Wind

Photo credit: Jordan Fischels

BGS 5+5: Reckless Kelly

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Artist: Reckless Kelly
Hometown: Austin, Texas
Latest album: American Girls & American Jackpot

Answers provided by Willy Braun

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

I get a lot of ideas from books, lines here and there, but a lot of time they’re just ideas. A theme or a mood. I get some ideas from movies as well but that’s a little more rare. I’d say most of my ideas for songs come from things people say or do in everyday life. I’m always writing things down.

What was the first moment that you knew you wanted to be a musician?

I’ve always known I was going to be a musician. It’s the family business. My dad, uncles, grandpa, brothers, cousins, etc., are all musicians. I grew up singing on stage with my dad’s band and eventually my brothers and I all joined so there was never really any question about what path we were going to go down.

However, to answer the question more directly, I remember when I was about 5 I got up and sang a song with my dad at a chili cook-off. After the show the girl at the concession stand gave me my Coke for free, and I remember thinking that was the coolest thing ever. It may have been what hooked me for good.

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

I have a place in Idaho where I do the majority of my writing these days. It’s in the high desert with mountains all around so it’s really inspiring. It takes me a few days to get in a groove but once I find my rhythm I usually get a lot done. It also helps that it’s off the beaten path so distractions are at a minimum.

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

If I could meet one person it would probably be Sir Paul McCartney. I’m pretty sure he’s a vegetarian so I’d eat whatever he wanted to have as long as we could chat about writing and of course, the Beatles. I’m sure we’d have a couple bottles of wine to wash it all down as well.

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

I use a lot of metaphors in my songs so that’s a place to hide out, ha ha. I almost always write with a caricature in mind, so even when I say “me” I’m not usually talking about myself. A lot of my stuff is fictional so I don’t worry about hiding much. The new albums are the first time I’ve really explained a lot of meaning behind the songs. Normally I let people make up their own version of what they think it’s all about. This time I felt like it was important to let people behind the curtain a bit because of the concept. I wanted them to get it.

Photo credit: Cynthia Dawn Photography

BGS 5+5: Ruthie Foster

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Artist: Ruthie Foster
Hometown: Austin, Texas
Latest album: Live at the Paramount

Which artist has influenced you the most … and how?

Sam Cooke. Growing up in a mostly gospel singing family, Sam Cooke’s music was playing on the stereo all of the time. He was not only the most melodic gospel soloist I’d ever heard, but he could sing anything from popular songs to fronting a full band with horns, changing stylistically as a singer (Sam Cooke at The Copa). I’d like to think that my music brings a similar energy to the live stage, which is why I decided to record with a big band on my latest release.

What was the first moment that you knew you wanted to be a musician?

I was about 10 years old sitting on the front pew in my family’s church in central Texas watching and listening to my uncle sing a solo one Sunday afternoon. He’d sang the song many times before but this time it was different. Tears were streaming down his cheeks, his voice was shaky, and he had his hand on my other uncle’s shoulder, who was playing the piano. Visibly moved, he changed the energy in the entire congregation. Everyone was crying, me too. I knew then that singing was a true gift that can be used to elevate.

What’s the toughest time you ever had writing a song?

I have a tough time finishing songs when I’m in my head too much; I’ve had no problem starting them at all. “Singing The Blues” is a perfect example. At the time I was getting a little pressure about writing for my next album and I resisted. Touring a lot while house searching from the road and trying to write was stressful. It wasn’t until I decided to put those feelings on paper when I realized that the song was really about my life. So I was able to start and finish it, “Trying to find a new home, trying to write a new song. Trying to find a rhythm, that’ll help me get through it, singing the blues”.

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

I love to cook at home when I’m off the road. One of my favorites is baked fish with garlic, fresh dill, seasonal vegetables, and a good wine. I always prep and pair that dish with one of my favorite singers, Tony Bennett!

What’s your favorite memory from being on stage?

One night onstage at a festival I started to lose my voice from really bad allergies. I tried to sing but after a few songs, I was straining and in extreme pain. I stopped and apologized for not being able to continue, but someone in the audience started singing the lyrics for me, then there were more people joining in on a few more songs and before I knew it, the set was complete and sung entirely by my beautiful fans while I played guitar for them! They had lifted and carried me through the show! I was incredibly moved and grateful.

Ruthie Foster – “Singing The Blues”

I’m very proud of being brave enough to tell my own story about how I came to the blues.

Sam Cooke – “Bring It On Home To Me”

Sam was soulful and a skillful in the music business, owning all of his own publishing.

Tedeschi Trucks Band – “Midnight In Harlem”

This tune reminds me of learning to adapt to my new environment while writing songs when lived in NYC.

Bill Withers – “Grandma’s Hands”

This one captures how I felt about my own “Big Mama” and reminds me of how she still sings through me.

Sister Rosetta Tharpe – “Singing in My Soul”

The very first and baddest rocking mama on guitar ever! Huge influence on my playing.

Photo Credit: Yellow House Studios

The Show On The Road – Jamestown Revival

Posted on by Chris Jacobs

This week on The Show On The road, we feature a conversation with Jonathan Clay and Zach Chance, two Texans and expert harmonizers who for the last decade have toured the world as Jamestown Revival.

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Right before all tours got sent home, host Z. Lupetin was able to hop on the Jamestown Revival tour bus (sorry for the engine hum) to discuss their intimate new record, San Isabel, and their journey from meeting as curious singing teenagers in Magnolia, TX to their move out west and back home again. While their previous record, The Education of a Wandering Man, saw them harnessing the muscular roots-rock that can be heard at their powerful live shows, San Isabel strips everything back to their intimate two-voices-around-one-mic, “southern and Garfunkel” sound that brought them together in the first place — and has rightfully won them hordes of fans coast to coast.

They say sibling harmony can’t be compared and we’ve had several sets of twin bands on the podcast, but what about soul-brother harmony? If one thing is clear just sitting on the bus and listening to them weave their stories and songs together, it’s that Clay and Chance were born to sing together.

San Isabel was laid down at Ward Lodge Studios overlooking the San Isabel National Forest in Buena Vista, Colorado and often includes the natural sounds of the nature all around them. Give it a listen — it’s peaceful and powerful and raw and maybe just what we all need right now.