Celebrating Black History Month: Big Al Downing, Yola, Elizabeth Cotten, and More

To celebrate Black History Month – and the vital contributions of Black, Afro-, and African American artists and musicians to American roots music – BGS, Good Country, and our friends at Real Roots Radio in southwestern Ohio have partnered once again. This time, we’ll be bringing you weekly collections of a variety of Black roots musicians who have been featured on Real Roots Radio’s airwaves. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).

American roots music – in any of its many forms – wouldn’t exist today without the culture, stories, skills, and experiences of Black folks. Each week throughout February, we’ll spotlight this simple yet profound fact by diving into the catalogs and careers of some of the most important figures in our genres. To kick us off, RRR host Daniel Mullins shares songs and stories of Big Al Downing, Yola, Cleve Francis, Charley Crockett, Elizabeth Cotten, Dom Flemons, and Lead Belly.

We’ll return each Friday through the end of the month to bring you even more music celebrating Black History and the songs and sounds we all hold dear. Plus, you can find a full playlist with more than 100 songs below from dozens and dozens of seminal artists, performers, songwriters, and instrumentalists from every corner of folk, country, bluegrass, old-time, blues, and beyond.

Black history is American roots music history; the two are inseparable. As we celebrate Black History Month and its legacy, we hope you’ll join us in holding up and appreciating the artists who make country, bluegrass, blues, folk, and Americana the incredible and impactful genres that they are today.

Big Al Downing (1940 – 2005)

Big Al Downing was an engaging entertainer whose winding career included forays into many genres, including country music. An Oklahoma boy, Downing played piano on Wanda Jackson’s signature rockabilly hit, “Let’s Have A Party,” before pursuing a solo career, finding some mainstream success, dabbling in R&B, and even scoring a Number 1 disco hit, “I’ll Be Holding On.”

However, Downing made history in country as one of the earliest Black artists to find success in the genre. Beginning in the late ’70s, he would have a string of fifteen singles hit the Billboard country charts over the next decade, three of which reached the Top 20. He was nominated by the Academy of Country Music for their Top New Male Vocalist award in 1980. Big Al would be a frequent guest on the Grand Ole Opry, Hee Haw, Nashville Now, and more.

Downing’s soulful singing on hardcore country songs like “Bring It On Home” and “Touch Me (I’ll Be Your Fool Once More)” endeared him to fans, while his story song “Mr. Jones” has remained beloved by country enthusiasts. His career spanned five different decades of country, rockabilly, and more, remaining active in the country music world until shortly before his passing in 2005 after a brief battle with leukemia. Downing is a member of the Oklahoma Music Hall of Fame and Rockabilly Music Hall of Fame, and his legacy is still remembered by longtime fans of country music.

Suggested Listening:
Mister Jones
Touch Me (I’ll Be Your Fool Once More)

Yola (b. 1983)

Yola is a soul, country, and roots powerhouse! Born in the United Kingdom, Yola’s voice is a force of nature – rich, soulful, and packed with emotion. She started as a songwriter and backing vocalist before stepping into the spotlight with her 2019 debut album, the GRAMMY-nominated Walk Through Fire! Featuring contributions from Vince Gill, Molly Tuttle, Charlie McCoy, Ronnie McCoury, and more, the project was produced by Dan Auerbach of The Black Keys, and quickly endeared her to roots music lovers everywhere. She even appeared as a guest vocalist with all-star group The Highwomen.

With her unique blend of country, rock, and soul, Yola shatters boundaries. In 2021, she dropped Stand for Myself, an album full of bold, genre-blending anthems that brought her more GRAMMY noms. She has even dabbled in acting as of late, appearing on Broadway in Hadestown and playing Sister Rosetta Tharpe in the hit blockbuster Elvis. Do yourself a favor and check out this bon a fide star in roots music.

Suggested Listening:
Whatever You Want
Hold On” (featuring Sheryl Crow, Brandi Carlile, & Natalie Hemby)

Cleve Francis (b. 1945)

Do you remember Cleve Francis? He grew up listening to Hank Williams in Louisiana as a child before making his first guitar out of window screen wire and a King Edwards Cigar Box on his way to becoming an inspiring country artist. Cleve isn’t just a singer – but he’s a songwriter, a dreamer, and a doctor? That’s right, before he hit the stage, Cleve was saving lives.

Dr. Cleve Francis was a practicing cardiologist before he pursued his passion for country music full-time in the late ’80s. Cleve brought a fresh voice to the genre in the 1990s with his smooth voice and heartfelt lyrics that resonated with country fans, resulting in four singles on the Billboard country charts. Cleve’s style of country earned him appearances on major stages like the Grand Ole Opry, The Today Show, and more.

Though he eventually returned to medicine, Francis left an enduring legacy, inspiring many Black country artists who have followed in his wake. He was instrumental in the curation of the Country Music Hall of Fame & Museum’s “From Where I Stand: The Black Experience in Country Music” exhibit while also helping found the Black Country Music Association in the mid ’90s.

In 2021, he was recognized with a Black Opry Icon Award, and his album Walkin’ is on display at the National Museum of African American History & Culture in Washington D.C., where he could still been seen frequently performing at the legendary Birchmere music club until his retirement in 2021.

Suggested Listening:
Love Light
You Do My Heart Good

Charley Crockett (b. 1984)

One of the most authentic voices in modern American roots music, Charley Crockett has a story that sounds borderline mythical. A descendant of Davy Crockett who grew up in Texas, Crockett spent his early years busking on street corners from New Orleans to Dallas to New York, learning the art of storytelling from life itself. His travels took him to California, Paris, Spain, and Morocco before returning to Texas and releasing his debut album in 2015. Crockett’s recording output has been impressive, frequently releasing multiple albums a year and balancing his records with heartfelt originals and a deep catalog traditional songs from the likes of Tom T. Hall, Hank Williams, Willie Nelson, George Jones, Johnny Paycheck and more.

The common denominator is Charley – his voice carries a raw, timeless quality that cuts straight to the heart. Now performing at the Ryman Auditorium and on Jimmy Kimmel Live!, Charley’s rise hasn’t gone unnoticed. He’s earned critical acclaim and has racked up accolades from the American Music Association and a GRAMMY nomination. With black, Cajun, Creole and Jewish heritage, Crockett’s unique take on country and American roots music is sure to speak to music lovers everywhere for years to come.

Suggested Listening:
Jukebox Charley
$10 Cowboy

Elizabeth Cotten (1893 – 1987)

An underappreciated hero of American folk and blues, Elizabeth Cotten was born in 1893 in Chapel Hill, North Carolina. Growing up in a musical family, by the time she was 7 Elizabeth taught herself to play guitar left-handed. She flipped the guitar upside down, creating her own unique picking style, now known as “Cotten picking,” which featured alternating bass notes played with her fingers while her thumb played the melody.

Elizabeth wrote her iconic song, “Freight Train,” when she was just 12 years old. This classic has been recorded by Bob Dylan, Joan Baez, Tommy Emmanuel, Doc Watson, and dozens more artists across multiple genres. But her music remained largely unheard for decades as she spent much of her life working as a domestic housekeeper. It wasn’t until she reached her 60s, while working for the Seeger family – yes, that Seeger family – that her incredible talent received a proper platform. Working for a family that loved and appreciated music inspired Elizabeth to resume playing. With the Seegers’ encouragement, Elizabeth recorded her first album, Folksongs and Instrumentals with Guitar, in 1958, recorded at home by Mike Seeger, a member of the Bluegrass Music Hall of Fame.

Cotten went on to perform at major festivals thanks to the folk revival, w0n a GRAMMY at age 90, and inspired countless musicians before passing away in Syracuse, New York at the age of 94. Elizabeth Cotten was posthumously inducted into the Rock & Roll Hall of Fame in 2022.

Suggested Listening:
Shake Sugaree” [Live]
Oh Babe, It Ain’t No Lie

Dom Flemons (b. 1982)

Let’s shine a spotlight on a modern-day troubadour, the Grammy-winning musician, historian, and storyteller Dom Flemons, The American Songster. An avid folk music fan, Flemons was a busker in his home state of Arizona before moving cross country to North Carolina to help found the Carolina Chocolate Drops, a band that revived the nearly forgotten legacy of Black string band music.

Flemons has been a successful solo artist for the last decade-plus. He is a master of multiple instruments – banjo, bones, guitar, harmonica – you name it! His music blends old-time, folk, blues, jazz, and country, tracing the deep roots of African American contributions to American music. From the Grand Ole Opry to Carnegie Hall, Flemons brings history to life with every note.

His 2018 album, Black Cowboys, uncovered the often overlooked stories of African American pioneers in the West, earning critical acclaim and a GRAMMY nomination. Today, whether performing solo or collaborating with legends like Taj Mahal, Sam Bush, and Rhiannon Giddens, Flemons keeps the rich traditions of American roots music alive. In addition to educating audiences about the origins of roots music, Flemons creates great original music as well, truly embodying his moniker.

As The Boston Globe said, “most folk artists go by ‘singer-songwriter’ or simply ‘musician.’ But ‘American Songster’ speaks to a greater truth about the work Flemons, a multi-instrumentalist, has accomplished.” We couldn’t agree more.

Suggested Listening:
Steel Pony Blues
Nobody Wrote It Down

Lead Belly (1888 – 1949)

He was a man of legend, his voice as powerful as the chains that once bound him. Born Huddie Ledbetter in 1888, the world knows him as Lead Belly. Imprisoned and pardoned multiple times, Lead Belly carried his music from the prison yards of Louisiana to the streets of New York City.

Legend has it that his musical gift led to his release. His background makes his prison, chain gang, and work songs even more haunting, including “Midnight Special.” His original song, “Goodnight Irene,” has been recorded more than two hundred times, including versions by Ernest Tubb & Red Foley, Moon Mullican, Frank Sinatra, Jerry Reed, and Johnny Cash. It is viewed as a verified country standard.

“Duncan and Brady,” “In the Pines,” “Cotton Fields” – his songs told stories of hardship, freedom, and the American experience. Lead Belly’s music shaped folk, blues, rock, and country inspiring legends like Creedence Clearwater Revival, Bob Dylan, Robert Plant & Alison Krauss, Pete Seeger, Johnny Cash, The Johnson Mountain Boys, and Nirvana.

Lead Belly died in 1949, but his music lives on. His voice still echoes in every blues riff and folk song today. Lead Belly was posthumously inducted into the Rock & Roll Hall of Fame in 1988.

Suggested Listening:
Black Girl (In The Pines)
Irene (Goodnight Irene)


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Photo Credit: Big Al Downing via Team Entertainment Records; Elizabeth Cotten via Smithsonian Folkways Recordings; Yola by Valeria Rios.

Loretta Lynn Receives a CMT Tribute by Brandi Carlile, Keith Urban, and More

One of the most beloved performers in country music history earned an eloquent and emotional tribute in a live CMT taping titled Coal Miner’s Daughter: A Celebration of the Life & Music of Loretta Lynn. Presented without commercials at the Grand Ole Opry House in Nashville on Sunday night (October 30), the broadcast offered tributes from Little Big Town, Darius Rucker, and many other artists who admired her. Enjoy a few musical highlights below.

Editor’s Note: Two additional CMT commercial-free encore airings on Wed., Nov. 2 at 8p/7c & Sun., Nov. 6 at 11a/10c.

Brandi Carlile sings “She’s Got You,” which Loretta Lynn also recorded as a 1977 tribute to her late friend, Patsy Cline. Carlile returned to the stage to perform “Coal Miner’s Daughter” with The Highwomen and guest Brittney Spencer.


Alan Jackson sings “Where Her Heart Has Always Been,” a song he originally composed for his mother. He told the audience that Lynn always reminded him of his own mother, and that he felt the song’s message applied to Lynn, too.


Margo Price is one of many female artists who admired Loretta Lynn for her songwriting ability and tell-it-like-it-is approach to lyricism. With a pure country delivery, she sang one of Lynn’s most controversial hits, “The Pill.”


Lynn’s granddaughter Emmy Russell joined Lukas Nelson for “Lay Me Down.” Lynn recorded the ballad with Lukas’ dad, Willie Nelson, in 2016. Russell also recalled how Lynn would often bring her from side stage to sing a few songs.


George Strait, the King of Country Music, saluted a fellow member of country music royalty with “Don’t Come Home A-Drinkin’ (With Lovin’ on Your Mind).” The feisty single, which Lynn co-wrote, became her first No. 1 country hit in 1967.


Tanya Tucker kept it country for her homage to Loretta Lynn, singing “Blue Kentucky Girl.” Although Lynn didn’t write the song, it perfectly captured her own Kentucky roots, and became one of her earliest hits on Decca Records in 1965.


Keith Urban carried his Ganjo to the Grand Ole Opry stage to deliver a charming rendition of her 1971 hit, “You’re Lookin’ at Country.” Urban also shared a playful voicemail and reminisced about being her date at an awards show.


Jack White revived the title track of Van Lear Rose, one of Lynn’s best-loved and most acclaimed albums. As the 2005 project’s producer, White helped bring Lynn back into the spotlight and shared the Grammy for Best Country Album.


Photo Credit: Terry Wyatt/Getty Images for CMT

With an Acoustic “Bluebird,” Natalie Hemby Plays the Wild Card Up Her Sleeve

Songwriter extraordinaire Natalie Hemby is drumming up interest in her debut record Pins and Needles with a slew of YouTube performances simply titled The Hemby Sessions. In these acoustic videos, the Nashville native is making her way through her impressive repertoire of original songs that have appeared on some big records from the likes of The Highwomen, Kacey Musgraves, and Lee Ann Womack, to name a few. In this fourth installment, Hemby offers “Bluebird,” a song about resilience and hope in the face of trying circumstances. “Bluebird” went on to be recorded by the inimitable Miranda Lambert (who co-wrote the song with Hemby and Luke Dick) and appears on her Grammy-winning album, Wildcard.

In Hemby’s straightforward, solo acoustic performance, the song’s poignant message takes on a new life. “Bluebird” is all about a mature sense of hope and optimism that doggedly persists even in the bleakest of situations. There is a gravity around the act of insistently finding light, and Hemby’s writing and performance capture that weight elegantly. Watch “Bluebird” below, and stay tuned at the end for a behind-the-scenes story from Hemby about writing the song.


Photo credit: Alysse Gafkjen

On “Radio Silence,” The Highwomen’s Natalie Hemby Lets Her Voice Be Heard

Natalie Hemby’s new single “Radio Silence” puts her cunning sensibility as a songwriter on full display, while drawing on the strengths of co-writers Rosi Golan and Daniel Tashian. No slouches themselves, Golan is an accomplished songwriter whose music can be heard on countless TV shows and films, and Tashian is a writer and producer in Nashville with credits such as Kacey Musgraves’ Golden Hour.

With this dream team in support, Hemby’s weighty single encapsulates the anxiousness of being cut off from a friend — a true story that hits close to home. “This song is basically about being ghosted by a friend, only not because of a fallout, but because your friend doesn’t want to drag you into their struggles, so they shut down,” says Hemby. “I was the friend, and Rosi Golan was the one reaching out. We wrote the song with Daniel Tashian.”

An acclaimed writer and two-time Grammy Award winner, Hemby will releasing her first major label record as a solo artist, following her work with the Highwomen, the collaborative group with Brandi Carlile, Maren Morris, and Amanda Shires. “Radio Silence” and lead single “Heroes” precede Pins And Needles, an album that leans on her rock and roots musical influences, due out October 8 on Fantasy Records. “Pins And Needles is the record I never got the chance to make and I always wanted to,” she adds. “It’s the late 90’s sound, which is the sound of my young adult life.”


Photo credit: Alysse Gafkjen

2021 Americana Honors & Awards Nominees Announced

Brandi Carlile, Jason Isbell, Amythyst Kiah and Allison Russell are the leading nominees for the 20th annual Americana Honors & Awards, set for September 22, 2021 at the Ryman Auditorium in Nashville, Tennessee. Familiar names like Tyler Childers, Steve Earle, Sarah Jarosz, John Prine, and Sturgill Simpson are also on the ballot.

Carlile and Isbell are joined by Kathleen Edwards, Margo Price, and Billy Strings in the Artist of the Year category. On the ballot for Duo/Group of the Year, Carlile is also nominated as a member of The Highwomen, while Kiah and Russell are part of Our Native Daughters. As solo artists, Kiah and Russell are both nominated for Emerging Act of the Year as well. In addition, Kiah’s version of “Black Myself” (which was earlier recorded by Our Native Daughters) will compete for Song of the Year, bringing her total nominations to three.

Other contenders for Emerging Act are Charley Crockett, Joy Oladokun, and Waxahatchee. The Duo/Group category also includes Black Pumas, The War and Treaty, and Gillian Welch and David Rawlings. The Americana Music Association’s Lifetime Achievement Awards, including the NMAAM co-presented Legacy of Americana Award, will be announced at a later date. The awards ceremony is a cornerstone of AmericanaFest, which returns for its 21st year on September 22-25.

Keb’ Mo’ and Old Crow Medicine Show’s Ketch Secor unveiled the nominations during a socially-distanced ceremony at Nashville’s National Museum of African American Music. The intimate event featured acoustic performances from nominees Valerie June and Allison Russell. A full list of categories and nominees for the Americana Music Association’s 20th annual Americana Honors & Awards is below:


ALBUM OF THE YEAR:

Cuttin’ Grass – Vol. 1 (Butcher Shoppe Sessions), Sturgill Simpson, Produced by David Ferguson & Sturgill Simpson

J.T., Steve Earle & The Dukes, Produced by Steve Earle

The Moon and Stars: Prescriptions For Dreamers, Valerie June, Produced by Valerie June, Ben Rice & Jack Splash

Reunions, Jason Isbell and the 400 Unit, Produced by Dave Cobb

World on the Ground, Sarah Jarosz, Produced by John Leventhal


ARTIST OF THE YEAR:

Brandi Carlile

Kathleen Edwards

Jason Isbell

Margo Price

Billy Strings


DUO/GROUP OF THE YEAR:

Black Pumas

The Highwomen

Our Native Daughters

The War and Treaty

Gillian Welch and David Rawlings


EMERGING ACT OF THE YEAR:

Charley Crockett

Amythyst Kiah

Joy Oladokun

Allison Russell

Waxahatchee


INSTRUMENTALIST OF THE YEAR:

Megan Coleman

Robbie Crowell

Ray Jacildo

Philip Towns

Kristin Weber


SONG OF THE YEAR:

“Black Myself,” Amythyst Kiah, Written by Amythyst Kiah

“Call Me A Fool,” Valerie June ft. Carla Thomas, Written by Valerie June

“Dreamsicle,” Jason Isbell and the 400 Unit, Written by Jason Isbell

“I Remember Everything,” John Prine, Written by Pat McLaughlin & John Prine

“Long Violent History,” Tyler Childers, Written by Tyler Childers

BGS 5+5: FRETLAND

Artist: FRETLAND
Album: Could Have Loved You (out March 26, 2021)
Hometown: Snohomish, Washington

All answers by Hillary Grace Fretland

What’s your favorite memory from being on stage?

At this point they’re all my favorite! On our first tour, we played Off Beat Music Festival in Reno and we were feeling a little exposed and nervous for our first big stage that wasn’t home. I remember finding our manager’s face in the crowd after the first song ended and both our eyes and smiles got so big. The door was pouring people through and there was hardly room left. By the end of the set, the audience had this surge in energy where they wouldn’t let us off the stage and were stomping their feet. That look was a mutual, “I think it’s going to go just fine,” and instantly all the nerves left. It felt so good!

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

I don’t think I’ve ever not wanted to be one. Our home had every instrument for us kids to explore. I started writing songs on the piano around seven years old and didn’t pick up the guitar until I was 15. My mother led her own band and wrote all her own music too. Musicians were always in and out of the house like a wonderful loud family.

If you had to write a mission statement for your career, what would it be?

We are actually revisiting this as a band right now. It’s important to me that my stories allow for empathy for every character. So that no matter who someone is connecting with in the song, the conversations aren’t, “Am I good or bad?” but rather, “Am I understood?”

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

I spend most of my time in nature around my home. I am lucky enough to live in a beautiful valley where two rivers meet and you can see Mount Rainier from the third bend on the loop. Whether I’m in the garden, swimming, or walking in the valley it gives my mind time and space to find what and how I want to say something. I think songwriting should be personal and true to every individual and if you spend enough time alone with your thoughts then you have a better chance of being honest.

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

I’d say that, more often than not, I earnestly think that a character is fictional. It’s not until I’m listening back to it some years later that I realize that my songwriting is like an unconscious diary. Sometimes I’m all the characters at once.

https://open.spotify.com/playlist/6kj3NzFPjD5SQBxs6GsaR1?si=q_nlSYrkTUSx7QwpRiLneA


Photo credit: Kendall Rock

Americana Honors & Awards: Black Pumas, The Highwomen Among Winners

The Highwomen picked up three trophies for the Americana Music Association’s 19th Annual Americana Honors & Awards, which were revealed online today. The collective of Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires, joined fellow winners Black Pumas, Brittany Haas, and the late John Prine.

The Highwomen received the following awards: Album of the Year for their self-titled debut, produced by Dave Cobb; Song of the Year for “Crowded Table,” written by Carlile, Hemby and Lori McKenna; and Duo/Group of the Year.

Prine, who died in April, was named Artist of the Year for the fourth time since 2005. Black Pumas carried the Emerging Act of the Year category, while fiddler Brittany Haas won the Instrumentalist of the Year award.

For nearly two decades, the Americana Honors & Awards program has provided a unique platform for commemorating the best and brightest musicians in the Americana music scene at the historic Ryman Auditorium in Nashville. Due to the COVID-19 pandemic, in an effort to preserve the safety of musicians, fans and other members of the close-knit roots community, the Americana Music Association chose to forego having an in-person ceremony this year.


Photo of Black Pumas: Lyza Renee; Photo of The Highwomen: Alysse Gafkjen; Photo of John Prine: Danny Clinch; Photo of Brittany Hass: Michael George

Harmonics with Beth Behrs: Episode 4, Brandi Carlile

Harmonics with Beth Behrs is the newest show from the BGS Podcast Network, which delves into the intersection of music and wellness. The podcast’s third week features Brandi Carlile, Americana icon and advocate for the empowerment of women and the LGBTQ+ community.

LISTEN: APPLE • SPOTIFY • STITCHERAMAZON • POCKET CASTS • MP3


Harmonics host Beth Behrs talks with Carlile about spirituality and wisdom found through horses and nature, performing the album Blue for Joni Mitchell, the joy and connection of live music, anxiety, and singing with Dolly Parton at the Newport Folk Festival.

For many folks, the first time they heard of Brandi Carlile was during her show-stopping performance of “The Joke” at the 2019 Grammy awards. Carlile walked away with three trophies that night for her record, By The Way, I Forgive You (including Best Americana Album). She’s been honing her distinctive voice and building a dedicated audience for over twenty years, all the while staying committed to building a family and community with her band and team.

That commitment has made her a godmother of modern American roots music — as a curator of festival stages, interpreter of the legendary artists who came before, and producer and collaborator for a whole new generation of female artists.

Listen and subscribe to Harmonics through all podcast platforms and follow BGS and Beth Behrs on Instagram for series updates!

Americana Music Association Reveals 2020 Nominees, Expands Ballot

The Americana Music Association has revealed the nominees for its 19th annual Americana Honors & Awards, with Brandi Carlile, Brittany Howard, John Prine, Tanya Tucker, and Yola nominated for Artist of the Year. Nominees in the Duo/Group category are Black Pumas, Drive-By Truckers, The Highwomen, Buddy & Julie Miller, and Our Native Daughters. Nathaniel Rateliff and Aubrie Sellers received multiple nominations as well.

This year, the Americana Music Association expands its award categories to include five nominees instead of four, with the exception of Song of the Year, totaling six due to a nomination tie. The winners of each category will be announced during the Americana Honors & Awards on Wednesday, Sept. 16, 2020, at the Ryman Auditorium in Nashville.

However, a press release states that “the health and safety of the Americana music community is the association’s utmost concern, and the event organizers will continue to monitor the COVID-19 situation closely while following all national, state and local guidelines as they approach the scheduled ceremony date.” Ticketing information will be announced as plans unfold.

Here are the nominees for the 19th Annual Americana Honors & Awards

Artist of the Year:
Brandi Carlile
Brittany Howard
John Prine
Tanya Tucker
Yola

Duo/Group of the Year:
Black Pumas
Drive-By Truckers
The Highwomen
Buddy & Julie Miller
Our Native Daughters

Album of the Year:
And It’s Still Alright, Nathaniel Rateliff, produced by James Barone, Patrick Meese and Nathaniel Rateliff
Country Squire, Tyler Childers, produced by David Ferguson and Sturgill Simpson
The Highwomen, The Highwomen, produced by Dave Cobb
Jaime, Brittany Howard, produced by Brittany Howard
While I’m Livin’, Tanya Tucker, produced by Brandi Carlile and Shooter Jennings

Song of the Year:
“And It’s Still Alright,” Nathaniel Rateliff, written by Nathaniel Rateliff
“Bring My Flowers Now,” Tanya Tucker, written by Brandi Carlile, Phil Hanseroth, Tim Hanseroth and Tanya Tucker
“Crowded Table,” The Highwomen, written by Brandi Carlile, Natalie Hemby and Lori McKenna
“My Love Will Not Change,” Aubrie Sellers featuring Steve Earle, written by Billy Burnette and Shawn Camp
“Stay High,” Brittany Howard, written by Brittany Howard
“Thoughts and Prayers,” Drive-By Truckers, written by Patterson Hood

Emerging Act of the Year:
Black Pumas
Katie Pruitt
Aubrie Sellers
Billy Strings
Kelsey Waldon

Instrumentalist of the Year:
Ellen Angelico
Annie Clements
Brittany Haas
Zachariah Hickman
Rich Hinman


Photo credit: Brandi Carlile by Alysse Gafkjen; Brittany Howard by Danny Clinch; John Prine by Danny Clinch; Tanya Tucker by Danny Clinch; and Yola by Alysse Gafkjen.

AMA logo courtesy of the Americana Music Association.

Della Mae Offer Encouragement and Illumination on ‘Headlight’

Della Mae have shaken up bluegrass and old-time stages for the better part of the last decade, with a mile-long resume that even includes a stint as cultural diplomats with the U.S. State Department. With Headlight, the Boston band’s first full-length album in five years, they’re providing their most powerful statement yet.

Written primarily on retreat at MOXE, a women-owned creative retreat outside of Nashville, the band taps into a more overt kind of activism than we’ve seen from them before, with lyrics that lift up victims of abuse, lend solace to the weary, and offer a single directive in the fight for change: to always keep moving forward.

Produced by Dan Knobler and recorded at Sound Emporium Studios in Nashville, the album features vocal powerhouses like the McCrary Sisters alongside instrumental heavyweights such as keyboardist Jen Gunderman and guitarist Molly Tuttle. Its tracks boast the fast picking and sublime harmonies that Della Mae fans have come to expect. BGS caught up with lead singer and songwriter Celia Woodsmith, discussing the new music and the band’s long record of working for equality in bluegrass and beyond.

BGS: The album opens with “Headlight,” a powerful song about standing up in the face of abuse. What drove you to write it?

Woodsmith: “Headlight” was definitely a hard one to write but it came out really quickly. I had been trying to write a song that could capture this feeling, the #MeToo movement feeling, and nothing was coming out. It really was after Christine Blasey Ford testified in front of Congress that it happened — the song came out in about twenty minutes, a very quick thing. I think I’d finally just had it.

As we [the band] have gotten older and more mature as human beings and as women and as musicians, it’s been easier and easier to not really care what other people think of us. [Laughs] It’s easier to say what we want to say, without fear that we might “ruin our career” or that the backlash will be too hard to handle. Truly, I didn’t write it as a political song, and I didn’t write it as something to divide people. I wrote it as an anthem, an ode to all the women in my life and the women I’ve seen all over the world who have stood up and been brave and been ridiculed for it.

Are there ways that you feel like your fans and your listeners could be “headlights” in their communities?

One of the lyrics is, “No need to be rude, just sit back and listen.” I think right now, especially, we really don’t listen to one another; we don’t want to listen to one another. There are a lot of takeaways that I hope people can grab from this song, but if standing up for women’s rights is beyond them, then I hope that they can just get through the song, just listen to it, just think about it. That’s all I can hope for.

As a listener yourself, what’s something in music in the last year or two that has made you particularly hopeful about what’s to come?

The first thing that comes to mind is the album by The Highwomen — Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby. That album, that project, really made me happy. First of all, that these women were badass enough to stand up and say, ‘This is a problem in country music. You don’t play our songs and you don’t play our albums, and we are absolutely going to stick this in your face.”

You have people constantly, your whole life, telling you that you’re “pretty good for a girl.” Believe me, Della Mae has gotten plenty of that. And it’s so frustrating. But when these high-profile women stand up for the rest of us, it elevates all of our voices. To have an album like The Highwomen do so well, be so well done — and by these four powerhouses — made me so hopeful for the future, hopeful that other young women are going to see this same thing and say, yeah, you know what? You should play our music. We are good enough.

Della Mae has been a presence like that for women all over the world, working with the State Department, performing in countries where women might not always see other women on stage. In your travels, were there times when you encountered a bluegrass community in places where people might not expect to find it?

Yeah, absolutely. We have found really amazing bluegrass musicians in Russia, and we’ve found them in the Czech Republic, and we’ve found them in France. Bluegrass is everywhere. It’s quite amazing to me, actually. We met a really amazing three-finger-style banjo player in Uzbekistan. This woman just learned how to do it from YouTube, and we were the first bluegrass musicians she’d ever jammed with.

Another time, these young Russian bluegrass musicians we sat down to pick with asked us to play [one of our songs] “Sweet Verona,” and they played right along with us. It was truly astonishing. That goes to show how small the world is. If you have an internet connection, you can listen to just about whatever you want, and you can learn. Bluegrass is a global thing, it’s everywhere. But it’s everywhere because it’s folk music, and I think that people can really relate to it.

I’ve seen quotes where Della Mae describe Headlight as the album you’ve always wanted to make. What were you enabled or empowered to do here that you haven’t been able to do in the past?

I think that kind of ties back into the “not-giving-a-crap-anymore” thing. We had always been afraid to have drums on an album, we’d always been afraid to plug in, use effects. [Because] we were in bluegrass, and kind of cornered into that genre, it felt like we couldn’t expand our musicianship, because we didn’t want to anger our fans.

We obviously care a lot about our fans, but [now] we think that we can take our fans with us, take them along for the ride. We’ve been playing for ten years. Our fans know that we can play a fiddle tune, and that we can play bluegrass standards. But we can also plug in and rock out and really perform songs that have meaning behind them, and do it with a lot of flair.

Do you think the pressure to adhere to tradition can be an obstacle for bluegrass musicians today?

I think that’s a problem being faced by bluegrass musicians, I think especially young musicians, but I think it’s getting better. Alison Brown, an absolute legend on the banjo, said it last year in her IBMA keynote speech: Change is coming to bluegrass, whether or not they want it. We have to start opening our arms more to different expressions of bluegrass.

There can be traditional bluegrass — that’s fine — but if someone has drums, or someone plugs in, or someone plays in an untraditional way, that doesn’t mean that we have to eliminate them completely from the genre. If we do that, then bluegrass music will slowly start to die. People won’t want to play it when they can’t play around with it, when they can’t give to it their own expression and their own creativity.

Recently I think there’s more openness to what bluegrass is, as opposed to what it isn’t. People will always say, “Well, that’s not bluegrass, they don’t have a fiddle,” or, “That’s not bluegrass, they don’t have a banjo.” More often lately, though, it’s been more like, “Oh, these musicians can play bluegrass, but they can also play a bunch of other stuff.” It’s better to celebrate that than to distance yourself.

Your new song “The Long Game” tackles the idea of temporary sacrifice for an ultimate goal. What are some of your challenges in playing the long game, and what keeps you looking forward?

We’re very lucky that this is our career, that we can travel around the world, meet people, write songs. But the day-to-day stuff is really hard. You’re kind of coaching yourself — “Just drink another cup of coffee and you’ll be fine.” When you’ve been a band for ten years, a lot of interpersonal stuff comes up. You may lose members over the years. We’ve had members turn over, and each time it’s difficult. It’s always the closing of a chapter, and then moving on a new way of thinking about Della Mae.

I love this band, and I love the women I play with, and I feel so grateful that we’re able to do this together. We’re really a family and a team, so I think that’s part of the long game, too — accepting change and learning to deal with it in a positive way, as opposed to a negative way. You’re always going to have surprises along the road, and you’ve just got to, well, keep playing the long game.


Photo credit: David McLister