Tag: The Lone Bellow

MIXTAPE: Liberated Women by Dawn Landes

Posted on by Justin Hiltner

My new album, The Liberated Woman’s Songbook, reimagines folk songs about women’s activism from a songbook published in 1971 at the height of the Women’s Liberation Movement. Songbooks were the playlists of the past. Before people could burn CDs or make mixtapes, if they wanted to share songs they would make books or zines. When I was researching for this project, I consulted a lot of songbooks and zines from the late ’60s and early ’70s and found so many delightful things! Here are a few of my favorite finds (most pre-dating 1971, when the book was published). – Dawn Landes

“Hard is the Fortune of All Womankind (1830)” – Dawn Landes

This traditional ballad was often sung at protests during the Women’s Liberation Movement in the late ’60s and early ’70s. It was recorded by Peggy Seeger in 1954 and Joan Baez in 1961 under an alternate title, “The Wagoner’s Lad.” The lyrics date back to its first printing by English song collector Cecil Sharp.

“Single Girl, Married Girl” – The Carter Family

I first heard this Appalachian song when I worked at a bookstore in NYC and would constantly listen to a Carter Family CD on repeat. Apparently Sara Carter didn’t like the song and didn’t want to record it in 1927, but I’m so glad she did!

“I’m Gonna Be an Engineer” – Peggy Seeger

This masterpiece was written in the ’70s by the great Peggy Seeger, an incredible musician, writer, and keeper of the folk tradition (also, the sister of Pete Seeger). She’s been an advocate for women’s rights throughout her long career and has recorded many folk songs on women’s issues.

“Lady, What Do You Do All Day?” – Peggy Seeger

Seeger’s epic retort to Ewan MacColl’s question at the top of the song is worthy of its own film. MacColl and Seeger were musical and life partners for 30 years and made so many amazing recordings together. Check out her memoir, The First Time Ever, for some wild stories about the two.

“It’s My Way” – Buffy Sainte-Marie

This was the title track to Buffy Sainte-Marie’s debut album in 1964. That whole album is mind-blowing, but this song stands out to me. It’s so self-assured and strong. She’s still performing it in her 80s and even released a rock version in 2015.

“You Don’t Own Me” – Lesley Gore

Lesley Gore was 17 years old when she recorded this in 1963! One of the song’s two writers, John Madera, said its sensibility was shaped by his upbringing and participation in the civil rights movement.

“Oughta Be A Woman” – Sweet Honey In the Rock

Bernice Johnson Reagan said, “June Jordan wrote the words to ‘Oughta Be a Woman’ after I talked about my mother.” I really love the narrators voice in the writing and the uplifting voices of Sweet Honey In the Rock singing this.

“Silver Dagger” – Joan Baez

This song casts such a spell and Joan Baez is one of my all time favorite singers.

“Which Side Are You On (1931)” – Dawn Landes

Here’s a labor song mashup that combines Florence Reece’s lyrics from “Which Side Are You On” with Aunt Molly Jackson’s “I Am a Union Woman.” I’m singing the part of Florence Reece and Kanene Pipkin (of The Lone Bellow) is singing the Aunt Molly lyrics. Both women wrote protest songs during the “Bloody” Harlan County, Kentucky miners strike.

“Custom Made Woman Blues” – Hazel Dickens & Alice Gerrard

I’ve been lucky enough to spend some time with Alice Gerrard and she told me that the first time she and Hazel Dickens performed this song at a women’s festival the audience clapped so loud they had to play it again! Immediately! Legends.

“I Am Woman” – Helen Reddy

The production on this song really places me exactly in the year 1971, when The Liberated Woman’s Songbook was published and Helen Reddy’s song was about to become a huge part of the soundtrack to the Women’s Liberation Movement. There’s a great documentary about her life and this song on Netflix.

Photo Credit: Heather Evans Smith

BGS 5+5: The Lost Wayne

Posted on by Justin Hiltner

Artist: The Lost Wayne (AKA Hunter Hoffman)
Hometown: DMV (DC/Maryland/Virginia)
Latest Album: Tangerine
Personal nicknames (or rejected band names): Hamster, Smooch

Which artist has influenced you the most and how?

There have been, and there continues to be, so many that it’s hard to narrow it down to just one. But the artist who has had the deepest impact on me has definitely been Noah Gundersen. My sister introduced me to his music in my early 20s and I have been a massive fan ever since. His honesty and vulnerability in his writing is something I’ve always admired and been drawn to. We’re both around the same age and I felt the experiences he was singing about were lining up exactly with my life. I’ve seen him play live many times, both solo and with a full band, and you can feel the crowd just completely magnetized to him and feeling every lyric and emotion of each song. One way I like to test if a song is well written is if it’s message and gravitas holds up with just the artist and their instrument. His music is equally impactful with the fullness of produced sound or a solo acoustic set. He’s inspired me in so many ways in finding the deep truths in my songwriting and how to translate that into performing live. I could go on and on, but I feel like it’s starting to sound creepy so I’m going to stop!

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

I moved to New York to go to acting school at The Neighborhood Playhouse and in my college years I had played little open mic showcases on campus and had written a handful of songs. I had dreams of becoming a musician, but was primarily focused on acting. I set a goal for myself that I wanted to get a show playing a full set of original music, so I went to an open mic at the former coffee shop/concert venue Waltz-Astoria in Queens. Pedro Gonzalez and his wife Song were the owners, and after I played my two-song slot he asked if I wanted to perform a set that weekend, since another artist had dropped out at the last minute. All of a sudden my dream became a reality in the first few weeks of moving to the city. After I finished my set and felt the rush of baring my soul through my songs on stage, I knew this was no longer going to only be a therapeutic hobby. I’m grateful to say I’ve been able to juggle both acting and music in my adulthood and I take pride in saying I am an actor AND a musician. It’s been a wonderful ride so far.

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

All of them. I just finished reading Rick Rubin’s book, The Creative Act: A Way Of Being, and it’s really opened me to finding inspiration everywhere. I’ve grown to appreciate how individual and subjective art is for everyone and that what I appreciate and connect to could be the complete opposite experience for someone else. So even if I don’t relate to something or “like” it, I try to keep my mind open and attempt to analyze why it doesn’t. Art helps us define who we are to ourselves, and as an artist I try to consume as much as I can, because you never know what’s going to hit you.

What has been the best advice you’ve received in your career so far?

Steal from other artists. And not in the copyright way, but in the inspiration. Sometimes if I’m caught in a writer’s block or a creative lull in my songwriting, I get so much from learning a new song from an artist I love. Or messing with it to sound a different way and make it cater to my voice. I’m also self-taught on guitar and have relatively zero knowledge of music theory, so when I learn and practice other people’s music, I discover new chord progressions or playing styles that can be so helpful to my own songwriting.

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

I’ve written a few songs through a sort of character in mind, but inherently every song I write is a form of me. 95% of the songs I’ve written have started from me in a room with my guitar, sitting with whatever feelings or circumstances are making their way through my life, and doodling around ’til something sparks. Sometimes I’m in a sad place and out comes a corny love song, or I’m happy as a clam and I word vomit a full existential crisis, my world burning down around me. At the end of the day it’s all me, whether I’m inhabiting a character or not, I have to start with the truth of it for myself. I think it can be a great exercise to write from the perspective of a character, and I can attest it’s a lot of fun, but my favorite songs I’ve written are the ones that are uncomfortably me. My experiences and stories are the only things I can honestly share, and if I can write a song that impacts someone the way so many artists have impacted me, then hopefully I’ll find myself in the ballpark of making something meaningful.

Photo Credit: Shannen Bamford

33 Must-See Roots Artists at This Year’s Bourbon & Beyond

Posted on by Justin Hiltner

Since 2017, Bourbon & Beyond has become one of the BGS Team’s favorite annual events. The music, spirits and food festival held at the Kentucky Expo Center in Louisville, Kentucky, always boasts a roots-forward lineup – on and off the BGS Stage.

In anticipation of Bourbon & Beyond kicking off Thursday, September 14, and running through Sunday, September 17, let’s preview all of the artists gracing our stage throughout the weekend – and we’ll throw in a few we’re excited to catch on the main stages as well. 

Limited tickets are still available! Join us this weekend at Bourbon & Beyond in Kentucky. Scroll to see the full schedule for the BGS Stage. 

The Arcadian Wild – BGS Stage

We’ve been a fan of this bluegrass-infused Nashville string/Americana band for more than a few years now. In 2021 we invited the Arcadian Wild to perform a Yamaha Artist Session, for which they performed two songs, “Hey Runner” and “Finch In the Pantry.” They hit the BGS Stage at B&B on Sunday.

Armchair Boogie – BGS Stage

We recently caught this jammy Wisconsin outfit, Armchair Boogie, at Earl Scruggs Music Festival, where they burnt down their late-night set. You have two opportunities to see them on the BGS Stage, as they’ll kick us off both Friday and Saturday.

The Avett Brothers – Main Stage

These Saturday headliners need no introduction to our BGS readers and followers, as the Avett Brothers have been a staple of our community for nearly our entire lifespan. Looking at the Bourbon & Beyond lineup poster, it’s hard to believe we didn’t book this entire event! 

Jon Batiste – Main Stage

Fresh off the release of a brand new album, World Music Radio, in August, don’t miss Americana renaissance man Jon Batiste when he hits the B&B main stage on Sunday. We can certainly appreciate this Louisianan’s love for blurring genre lines – a perfect fit for Bourbon & Beyond.

Brandi Carlile – Main Stage

Let’s return to MerleFest 2019, the last time we had a stage at a festival Brandi Carlile headlined – and she brought her pals the Avetts out to sing “Murder In the City.” A BGS classic! We’ll be running from the BGS Stage to see Brandi on Thursday evening for sure.

Brandy Clark – Main Stage

Appropriate that Brandi and Brandy would end up as list neighbors and both on the Bourbon & Beyond main stage lineup, as the former produced the latter’s stunning new self-titled album. Clark has been a Music Row mainstay as an artist and songwriter for decades, but with her new record and her hit Broadway show, Shucked (penned with Shane McAnally), she’s finally getting her well-deserved flowers. 

Clay Street Unit – BGS Stage

We crossed paths with Denver, Colorado, country-folk-grass group Clay Street Unit earlier this year at WinterWonderGrass, so we’re more than pleased to have them on the BGS Stage on Thursday afternoon. 

Michael Cleveland & Flamekeeper – BGS Stage

Fiddlin’ phenom Michael Cleveland has performed for BGS at Bourbon & Beyond before, but with his new critically-acclaimed album, Lovin’ of the Game, and his recent selection as our March 2023 Artist of the Month, it’s the perfect time to get him back to Louisville. It’s basically home turf for Cleveland, and his set Thursday evening is not to be missed.

The Cleverlys – BGS Stage

Bluegrass’s preeminent song-interpreters – or song skewer-ers, depending on how you look at it – are a humorous hoot, bolstered by fantastic picking and on-stage personas pulled straight out of a caricature book. If you’ve never seen the Cleverlys live and in person, now’s your chance to catch covers like this waltz version of Radiohead’s “Creep” like you’ve never heard them before. 

Della Mae – BGS Stage

Our old pals Della Mae brought an outsized energy and charisma with them to their sets at Earl Scruggs Music Festival a couple of weeks ago, wowing the crowds in North Carolina. Now the groundbreaking bluegrass foursome set their sites on the BGS Stage at Bourbon & Beyond. There’s a reason why this group of all women remains a stalwart in bluegrass, old-time and Americana.

Myron Elkins – BGS Stage

If you’re not familiar with guitarist and Americana alt-rocker Myron Elkins, you’re about to be! His debut album, Factories, Farms & Amphetamines, was produced by superstar musician-engineer-producer Dave Cobb and released on Elektra. Catch him as he ascends on the BGS Stage on Thursday, kicking off the entire weekend for us at 12:30 p.m.

Fantastic Negrito – Main Stage

Fantastic Negrito is a one-of-a-kind performer. An expert in blues – and a purveyor of post-blues, neo-blues, and the tastiest of fringe Americana – Fantastic Negrito occupies a stage like no other. He’s a Bourbon & Beyond veteran as well, and his past performances are seared into our memories of this amazing event. Do not miss!

First Aid Kit – Main Stage

Indie folk duo First Aid Kit, made up of Swedish sisters Klara and Johanna Söderberg, are a favorite of BGS readers – the kind of readers who equally love Bill Monroe, Nickel Creek and boygenius. Get a taste at their Saturday main stage set or check out our 2018 feature on the group.

Drew Holcomb & the Neighbors – Main Stage

Don’t you just wish Drew and Ellie Holcomb and the Neighbors were your neighbors? (Sigh…) It just seems like it would be lovely. At any rate, you can catch up with these fine folks from next door on the main stage at B&B on Thursday. 

Brittany Howard – Main Stage

A god of rock and roll incarnate, Brittany Howard’s particular brand of roots rock is enormous and will fill the Bourbon & Beyond main stage and then some. If you haven’t caught the Alabama Shakes front person recently, now is your chance. Howard hits the main stage on Friday.

The Lil’ Smokies – BGS Stage

Formed in Montana, the Lil’ Smokies combine so many contemporary bluegrass influences into a Western-influenced, jam-forward sound. We enjoy every chance we have to cross paths with this group – if you miss their set at Bourbon & Beyond, catch the Lil’ Smokies at AmericanaFest in Nashville very soon.

Lindsay Lou – BGS Stage

Roots singer-songwriter Lindsay Lou is entering yet another new era of her career, with her signing to Kill Rock Stars and upcoming album, Queen of Time, due out later this month. At Bourbon & Beyond you’ll have two chances to hear current and past sounds from Lindsay Lou – on both Saturday and Sunday on the BGS Stage.

The Lone Bellow – Main Stage

One of our all-time favorite rootsy, folky, string band trios. It’s been too long since we’ve reconnected with our friends The Lone Bellow and we’re grateful B&B will give us that opportunity when they play the main stage on Thursday.

Lola Kirke – BGS Stage

Lola Kirke, who you can see on Friday on the BGS Stage at B&B, is an accomplished actress whose dream is to be a country singer – dream, achieved! She makes joyous, lyrical, story-rich music that pulls as much from country’s grit as its glitz. (And an appearance from lineup-mates First Aid Kit on “All My Exes Live in L.A.” is the cherry on top.)

Joy Oladokun – Main Stage

Intricate and involved indie folk is Joy Oladokun’s medium, her songs dripping with pop sensibilities and led by an agnostic approach to genre that builds on work by predecessors like Aimee Mann, Ani DiFranco, Tracy Chapman, k.d. lang, and many more. Oladokun continues to rise through the music-industry ranks, her latest album Proof of Life building more momentum off the ex-evangelical’s heart-forward, earnest, stoner indie pop.

Old Crow Medicine Show – Main Stage

Old Crow Medicine Show bring the Jubilee to Bourbon & Beyond! Don’t miss the party as the world’s most renowned and rollicking string band celebrates their just-released album on the B&B main stage on Saturday. And keep an eye out for a BGS feature on the new record coming soon to the site.

Pixie & The Partygrass Boys – BGS Stage

Another of our WinterWonderGrass pals headed to Bourbon & Beyond! Catch Pixie & the Partygrass Boys on the BGS Stage kicking off our final day of music on Sunday. You’ll certainly enjoy the party – unless you’re a fascist, in which case, avoid our stage altogether or you might get eaten by some chickens.

Darrell Scott Band – Main Stage

Darrell Scott is a musical shapeshifter, effortlessly moving from Music Row country to dyed-in-the-wool bluegrass to rocking and rolling. At his Bourbon & Beyond main stage set on Friday, you’re sure to hear new tracks from his recent album, Old Cane Back Rocker, made with the Darrell Scott String Band, as well as original hits like “It’s a Great Day to Be Alive” and some tasty covers, too. We never get enough of Darrell Scott! (Watch for an interview with Scott coming to BGS soon.)

Frank Solivan & Dirty Kitchen – BGS Stage

If this is the kitchen dirty, let’s never clean it up! Frank Solivan & Dirty Kitchen are a shredding bluegrass jam band certainly worth sticking around for on Sunday evening. You’ll hear music from their most recent Compass Records album, Hold On, which recently turned one year old, and plenty of mind-(and string-)bending solos.

Mavis Staples – Main Stage

Put the legendary Mavis Staples’ main stage set (Friday, 3:50 p.m., Oak Stage) on your calendar and circle it. And underline it. And set a push notification. We are grateful every single time we get to occupy the same space and air as Mavis, and this time will be no different. It’s a privilege to walk the earth at the same time as this civil rights leader and musical oracle! 

Billy Strings – Main Stage

Not so long ago our old friend Billy Strings would have been playing our BGS Stage, but not anymore, this flatpickin’ global sensation has decidedly hit the big time! We’ve so enjoyed watching Billy move up and up and up in the world and we can’t wait to see his main stage set at Bourbon & Beyond Thursday night. With such a stacked lineup, the special guest opportunities are exciting and limitless. 

Town Mountain – BGS Stage 

Western North Carolina string band Town Mountain have built up their sound over the past few years to where they feel and sound something like Ricky Skaggs in his country days — bluegrass bones, but fleshed out country. Their songs still go by you like a rousing honky tonk dance band, bluegrass or no, but with spit and polish and thousands of miles under their belts. Worth an add to your B&B to-do list!

Twisted Pine – BGS Stage

Another group that blew us away at Earl Scruggs Music Festival, Twisted Pine turns the jamgrass model on its ear, building their vibey, virtuosic songs and tunes with as much jazz interwoven as bluegrass, old-time, and country. They’re like Lake Street Dive and Crooked Still, mashed up together and lingering a bit longer in string band traditions – from across the Americana continuum – before taking off. Plus, bluegrass just needs more flute, right? See them Friday on the BGS Stage.

Two Runner – BGS Stage

We’re glad to be bringing some California sounds to Kentucky with Two Runner, old-time and Americana duo of Paige Anderson and Emilie Rose coming to B&B. They bring to mind duos like Hazel & Alice and Anna & Elizabeth, combining country harmonies and old-time instrumentation – all dragged through the coastal evergreen woods of Northern California. Hear them Thursday on the BGS Stage.

Dan Tyminski – BGS Stage

Dan Tyminski headlining a BGS Stage is simply a dream come true! This multi-hyphenate, lifelong bluegrasser has been a member of so many seminal and groundbreaking bluegrass groups and projects. He’s had a full career within and outside of bluegrass, but lately has returned to the genre that made him with a new band, a new album, God Fearing Heathen, excellent songs, and that voice – fit for George Clooney. 

Kelsey Waldon – BGS Stage

Kelsey Waldon on her home turf! Though she hails from West Kentucky, the entire state is certainly this country singer-songwriter’s domain. We’ve collaborated quite a bit with Waldon across her career, and are looking forward to her headline set closing out our first day of Bourbon & Beyond on the BGS Stage. She may be country, but her bluegrass roots run deep – and will be on full display at B&B for sure. 

Sunny War – BGS Stage

 One of our favorite guitarists of the last several years has released one of our favorite albums of 2023, Anarchist Gospel. If you’re unfamiliar with her work, you won’t want to miss Sunny War perform on the BGS Stage on Saturday. Her right hand is confounding and inspiring, an often textural and tone-setting device in her bigger sounding recent songs that combine punk, blues, indie and more. Not to be missed! 

Hailey Whitters – Main Stage

It’s no secret BGS loves some good country. Hailey Whitters is certainly some of the best to come out of Music Row in recent memory, releasing radio-ready bops that are fun and exuberant, yes, but also have a rich and subversive well of influences, content and production styles. That Whitters is connected with all the best pickers and singers in Nashville and has a penchant for bluegrass are nice little details to remember about this TikTok phenom. Worth a mosey to the main stage on Sunday, certainly!

 

The Bluegrass Situation Stage – Daily Schedule

Thursday, September 14

5:45 p.m. – Kelsey Waldon
4:15 p.m. – Michael Cleveland & Flamekeeper
3 p.m. – Two Runner
1:45 p.m. – Clay Street Unit
12:30 p.m. – Myron Elkins

Friday, September 15

5:45 p.m. – The Lil’ Smokies
4:15 p.m. – The Cleverlys
3 p.m. – Twisted Pine
1:45 p.m. – Lola Kirke
12:30 p.m. – Armchair Boogie

Saturday, September 16

5:45 p.m. – Town Mountain
4:15 p.m. – Della Mae
3 p.m. – Lindsay Lou
1:45 p.m. – Sunny War
12:30 p.m. – Armchair Boogie

Sunday, September 17

5:45 p.m. – Dan Tyminski
4:15 p.m. – Frank Solivan & Dirty Kitchen
3 p.m. – The Arcadian Wild
1:45 p.m.- Lindsay Lou
12:30 p.m. – Pixie & The Partygrass Boys

Purchase your Bourbon & Beyond tickets here.

 

Basic Folk – Zach Williams of The Lone Bellow

Posted on by Shelby Williamson

The latest from Nashville-based, New York-bred and Georgia-born trio The Lone Bellow, Love Songs for Losers, was recorded at Roy Orbison’s creepy former house in Hendersonville, TN. The house’s vibe bled its way into the vibe of the album, which was co-produced by band members Brian Elmquist and Kanene Pipkin, producing vocals. The band went for a bombastic sound and they did it with no adult supervision (read: no outside producer influence). Frontman Zach Williams expounded on the experience along with his affinity for the house’s architect, the eccentric Braxton Dixon.

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We talk about a few standout songs from album including “Gold,” which takes a look at new small town life heavily impacted by the opioid crisis, “Honey,” a sort of poking love song to his wife and “Homesick,” which serves as the theme song for his new renovation program The Williams Family Cabin. The TV show features Zach and his wife Stacy flipping a cabin outside of Nashville and all the antics that come with it. Zach is familiar with the world of home renovation shows thanks to his close friend and home reno personality, the designer Leanne Ford. He actually got some good advice from Leanne prior to starting the show, but neglected to listen (LOL).

Zach’s a really fun person to watch on stage, he’s a remarkable showman. Catch The Lone Bellow live if you can. Their new album is fantastic! The creepy old matchstick house must have really worked wonders.

Editor’s Note: Basic Folk is currently running their annual fall fundraiser! Visit basicfolk.com/donate for a message from hosts Cindy Howes and Lizzie No, and to support this listener-funded podcast.

Photo Credit: Eric Ryan Anderson

Do You Ever Feel Like a Loser in Love? The Lone Bellow Made an Album for You

Posted on by Editor

It’s been nearly 10 years since The Lone Bellow — Zach Williams, Kanene Pipkin, and Brian Elmquist — arrived on the scene with their excellent self-titled debut, stunning Americana audiences with rich, adept harmonies and poetry born of vulnerability, loss, and hope. Since then, the band has managed to maintain the stop-you-in-your-tracks vocals and thoughtful lyricism that made their debut an instant classic. But they’ve also explored new sonic territory, adding a rhythm section (drummer Julian Dorio) and bass (Jason Pipkin, who also contributed banjo, mandolin, and synth) to round out their sound. “The tour that we’re on right now is such a wonderful boom basket—a full-throttle, five-piece band tour,” says Williams. “We’re not a trio around one mic.”

Self-produced by the band and recorded at Roy Orbison’s former Nashville home, Love Songs for Losers is the Lone Bellow’s first release recorded with the full touring band. It captures a musical energy that longtime fans will recognize warmly—and if you love it, don’t get too hung up on the “losers” part. Lyrically (and titularly), the album is meant to touch on those emotions that feel too big, too overwhelming, to do justice with words or gestures. “When it comes down to that moment when I want to express how much I love somebody, even my family, I usually don’t have the words for it,” says Williams. “But I think that it’s kind of beautiful that words fail.”

“It’s as simple as this,” adds Elmquist. “I’m in what I consider to be a happy marriage, with kids, and I need Love Songs for Losers all the same. We all don’t do it well! We’re all kind of in the same boat together.”

BGS caught up with Zach, Kanene, and Brian last month about recording the album, writing tough topics, and the importance of family. Read the interview below.

BGS: Why did Love Songs for Losers feel like the right title for this collection of songs?

Kanene: Well, we were just going to name it Love Songs. That was the working title, but it didn’t feel accurate.

Zach: It started out as kind of an inside joke while we were making the record, and I can boil it down to the lyrics of “Unicorn.” The lyrics are basically saying that words sometimes fail you when you’re trying to tell someone how much you care about them. That ended up being kind of the overarching theme—it’s an in-case-you-feel-the-same kind of record title.

You’ve worked with some all-star producers in the past, such as Charlie Peacock, Dave Cobb, Aaron Dessner. What was it like stepping into that role yourselves for this album?

Brian: We learned a lot just from being in the rooms with those people. But we also felt like producers had never quite gotten all of our personalities on there, so we really wanted to take that stab at it ourselves. They were big shoes to fill—and there’s nobody to lean on. You can’t go, “What do you think, Dave Cobb?” And then say, “Hmm, I don’t like that,” make the decision together, and then turn around and have the grace not to tear each other’s faces off if we didn’t like the decision. But at the end of the day, it was a pleasure [to self-produce Love Songs for Losers]. You just get to know your bandmates better. You realize that you like what you do, and it’s still getting you going. It’s still inspiring you. And after being a band for 10 years, that’s a super important thing to do. It still needs to be fun.

 

 

Was there a moment or creative decision that felt specific to your style as producers?

Zach: There were several of those moments. One of the things that happened is we were able to make more time for the vocals. You would think that we would always do that, but even with these amazing producers that we’ve worked with, who we love, the time would run out and we’d have concentrated on all of the guitars, and the drums, and the keys, and all of that. And then they’d be like, “All right, y’all get in there and sing the song.” This time around, we were able to really spend a lot of time on that part.

Kanene took the reins and did the vocal production, and it was really, really fun to take her guidance and leadership on that. Brian’s always had strong opinions whenever we’re making records about music, so I loved watching him blossom. And believe it or not, it was the first time that we had our rhythm section, the rest of our band, play. So having Julian Dorio on the drums and Jason Pipkin on the bass was great.

You recorded this album in Roy Orbison’s home. How did that come about, and why did that feel like a fit for this material?

Brian: I think the word is serendipitous. We had written all these songs, and [the home] just fit the Love Songs for Losers vibe—Roy Orbison, crying, always writing sad love songs. This all kind of fell into place pretty perfectly.

Zach: I mean, it was such a fun story how we even found the house. There’s this one builder that built 55 houses in his lifetime around Nashville: The majority of the houses he built were for the mega country stars, and several of them burned down—he would build them out of old material, out of old cabins and this and that. I got way into his work. I found his widow and she sat me down and told me stories for hours. The Roy Orbison house is a huge, mysterious, beautiful old house that’s probably 7,000 square feet. There are only two bedrooms, and both are probably 400 square feet a piece. The rest of the house is just massive party rooms, just debauchery. And I feel like the physical location where we made the record definitely seeped into some of the sound. “Unicorn,” for instance, definitely has that backbeat.

Tell me how “Gold” came about. You talk about some really difficult topics there—addiction, feeling stuck. What inspired it, and what did you really want to get right when you were writing it?

Zach: I’ve got family members that have been stuck on opioids for decades now. I’ve watched their eyes deteriorate and nobody talks about it. And I think what we were trying to do was use that familiar language of a song that’s talking about small town America, but in a way where we’re kind of pulling up the rug a little bit: Saying, yes—Main Street, Johnny, parking lots—but also Johnny put the paycheck in his arm.

Were you influenced by any other songs or artists during that process?

Zach: I mean John Prine did it, really: “There’s a hole in Daddy’s arm where all the money goes.”

Brian: Me and Zach are both from small towns. We’ve seen this, and we haven’t talked about it a lot. I’m very, very proud of that song and the recording of it. It started as a folk song, but when we got to it, it was more fun to make a new Springsteen song: “Born in the USA” is a sad song. But everybody kind of carries the sadness together.

One thing that I’ve always really admired in your music is that family seems to have always maintained the most important role in each of your lives. How do you maintain that North Star of sorts, especially with the taxing nature of touring and life as a professional musician?

Zach: For me, it’s always a sense of ownership my family has for the work that I do. My kids know that their opinions matter when I’m trying to figure out what song I’m trying to work on, to make a record. I want them to feel, like on the road, that they’re a part of that beauty that we’re trying to chase down. It’s not just like, “Alright, Dad’ll be back in a week and a half.” They know that they’re with me. There’s the quality over quantity kind of set-up that we have, too: When we’re home, we’re really home. We don’t have something that’s pulling us down to our iPhones, no 9-to-5, either, when we’re home.

I’ve benefited, really. I mean it might change—they’re in middle school right now and Lord knows what might happen—but last year one of my daughters was like, “Hey, how did you figure out how to do what you love for work?” I was like, “I don’t know.” And she was like, “I want to do that. I don’t know what it is, but I want to figure out how to do that.” I realized that it was really translating. This is a kid who knows that she can’t get everything she wants because I don’t make enough money—and still, she wants that. I love that.

Y’all have been a band for 10 years now. Is there anything that you would go back and tell yourselves a decade ago?

Brian: I’d be like, “Hey, you don’t have to look like you just came out of a coal mine.” [Laughs] But seriously, I think I’d say that as long as your hands are on the plow and you’re doing the work and taking care of your friends, it’s going to be the same outcome whether you get stressed out or don’t get stressed out about it. If you’re doing good work and you’re being honest, it usually pays off.

Zach: When we were first getting going, I carried a lot of worry that was unnecessary. Even though my bandmates were always telling me, “You don’t have to do that,” I just did anyway. I feel like, especially after going through Covid, losing everything, losing every way of making money and being worried, just hitting rock bottom and seeing that we were still okay, we kind of came out of that with a fresh new outlook on our work, and on our connection with each other, and our band. And I feel like we’re just now starting to see the fruits of our labor.

Kanene: I think for me it’s, “Have a thick skin and a short memory.”

Zach: And always make fun of each other. I think that’s important, too.

Photo Credit: Eric Ryan Anderson

Artist of the Month: The Lone Bellow

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Although they’ve built their career steadily for a decade now, The Lone Bellow have always played to the rafters. There’s a sense of vitality, as well as urgency, to their music — they’re never afraid to go all in. The trio of Zachary Williams, Brian Elmquist, and Kanene Donehey Pipkin have commanded a loyal fan base by putting in the work, of course, but also through their keen musicianship. They channel their acoustic influences a couple of times on their new album, Love Songs for Losers, while at other moments, they are fully electrified. And when they sing together, their music is somehow amplified in more ways than just in volume. It’s a powerful force that has elevated them from small clubs and festivals to headlining concerts in theaters around the world.

That longevity may have something to do with the relatability of their lyrics. As much as their music can feel uplifting and powerful, there’s also a confessional element that makes it feel you’ve shared in the experiences they’re writing about. Those listeners who have endured more than a few romantic failures will especially bond with this new project.

​​“One of the reasons we went with Love Songs for Losers as the album title is that I’ve always seen myself as a loser in love — I’ve never been able to get it completely right,” Williams says. “The songs are looking at bad relationships and wonderful relationships and all the in-between, sometimes with a good deal of levity. It’s us just trying to encapsulate the whole gamut of experience that we all go through as human beings.”

As a supporter of the band from the very beginning, we’re proud to reveal The Lone Bellow as our BGS Artist of the Month for December. Look for an exclusive interview coming later this month, as well as content shared on our socials through the rest of 2022. Looking ahead after the holidays, The Lone Bellow will return to the road with a run of shows through Texas, the Midwest and Pacific Northwest, before briefly wrapping in L.A. on February 17. Also on the books for 2023: bundling up for WinterWonderGrass sets in Steamboat Springs, Colorado, and Olympic Valley, California.

With Love Songs for Losers being their fifth studio album, the Lone Bellow certainly have an abundance of material to share with live audiences. Enjoy some of our own personal favorites, included below in our BGS Essentials Playlist.

Photo Credit: Eric Ryan Anderson

LISTEN: The Lone Bellow, “Gold”

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Artist: The Lone Bellow
Hometown: Nashville, Tennessee
Song: “Gold”
Release Date: July 21, 2022
Label: Dualtone Music Group

In Their Words: “‘Gold’ is written from the perspective of someone lost in the opioid epidemic. My hometown, like so many small towns, has a quiet war going on just below the surface that no one wants to talk about. ‘Main Street on the auction block’ is my way of saying this. ‘It’s in my blood, it’s in the water, it’s calling me still, I could leave, I know I should, but there is gold in those hills.’ He’s saying he’s addicted, and there’s small-town love and beauty and life happening right next to this war. ‘True love found in parking lots.’ Have y’all ever had nowhere else to hang except for a parking lot? I know I did, and it started so innocent. Like Hal Ketchum said in ‘Small Town Saturday Night,’ ‘…gotta do bad just to have a good time.’ We tried to pick up where they left off. Where could that small town Saturday lead? And what’s it look like right now.” — Zach Williams, The Lone Bellow

Photo Credit: Eric Ryan Anderson

BGS 5+5: Zachary Williams

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Artist: Zachary Williams
Hometown: Acworth, Georgia
Latest Album: Dirty Camaro
Personal Nickname: Ray ray

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

The first time I stepped onto an open mic stage and completely bombed. It was addicting.

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

I like to take a nice long walk by myself without my phone or anything just to clear my head. I’m in the woods a good bit. There is something about walking through a forest knowing that every tree is connected somehow. It makes you feel very small which is a very good feeling to me.

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

“Losing You” on this album has been with me for 12 years. I’ve worked on it for that long and it has got to be the hardest one for sure.

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

This is lame, but before I started The Lone Bellow, I was invited to have breakfast in the Upper West Side of Manhattan with Bono. I remember I was a nervous wreck. I mean. It’s Bono. They shut down the whole place so we could sit down together over some eggs. At the end of our meal we stood up and I asked him if he had any advice for a young buck like me. He said, “Set yourself on fire every night.” I hear those words before every single show.

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

Great question. For several records I never did and then a couple years ago I started flirting with the idea of trying to write someone else’s story. Trying to put myself in someone else’s shoes. On this record, it’s “Her Picture.” Everything else is me.

Photo Credit: Eric Ryan Anderson

WATCH: The Lone Bellow, “Count On Me”

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Artist: The Lone Bellow
Song: “Count On Me”
Album: Half Moon Light
Release Date: February 7, 2020
Label: Dualtone Records

In Their Words: “After singing ‘Count On Me’ together in the studio we walked outside and couldn’t help but think about the sense of camaraderie and kindness that seems to happen at our shows. Like strangers becoming neighbors wrapping their arms ‘round each others necks and saying ‘I got ya.’

“[For the lyric video] I had this vision of a figure skating routine, but we wanted to bring it a little closer to home. Instead of a poised athlete on ice, we hopped into a dirty old muscle car and while doing donuts in a field, we got to be Burt Reynolds for a day! I’m so thankful I was finally able to reap some of the skills from my redneck upbringing.” — Zach Williams, The Lone Bellow

Photo credit: Shervin Lainez

10 Bands Returning with New Music in 2020

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Roots music is already taking hold this decade, with ten notable bands preparing to release their newest albums in the months ahead. From award-winning bluegrass bands to prominent Americana ensembles, here are ten projects BGS believes are worth your attention.

The Ballroom Thieves, Unlovely (February 14)

This band’s undeniable energy has endeared them to crowds at Boston Calling, Newport Folk, Moon River, Mountain Jam, and Calgary Folk. However, folk music is just one part of their approach. The political messages are especially evident in Unlovely, while a new relationship between band members Callie Peters and Martin Earley informs the songwriting as well. Listen for Darlingside on the title track.

Della Mae, Headlight (January 17)

Prodigiously talented as instrumentalists and empowered by their mission of women’s rights, Della Mae make a statement on Headlight, especially in their support of those women whose claims of sexual abuse have been questioned. This time out, their sound is bolstered by keys, drums, and electric guitar. The trio of Jenni Lyn Gardner, Kimber Ludiker, and Celia Woodsmith will be touring in the U.K. this month.

Drive-By Truckers, The Unraveling (January 31)

The modern political climate informs Drive-By Truckers’ The Unraveling, with titles like “Armageddon’s Back in Town,” “Thoughts and Prayers” and “Babies in Cages.” Patterson Hood and Mike Cooley battled writer’s block for their first album in four years but it’s easy to figure out who ultimately inspired this set of songs, which were recorded in Memphis with producer David Barbe and engineer Matt Ross-Spang.

Dustbowl Revival, Is It You, Is It Me (January 31)

Dustbowl Revival decided to shake things up on Is It You, Is It Me. First of all, the Los Angeles-band wrote the songs in a two-week window in the studio, rather than fine-tuning them on the road. Second, the musical inspirations stretch further than usual, with pop vibes and percussion getting ample space. With Z. Lupetin and Liz Beebe on lead vocals, and produced by Sam Kassirer, this is one of the most exuberant records you’ll hear this year.

The Haden Triplets, The Family Songbook (January 24)

After an uncle discovered a songbook from the Haden Triplet’s grandfather, a radio star in the 1930s, the LA ensemble carried the material to the studio. The Family Songbook echoes that earlier era, while its covers range from the Carter Family to Kanye West. Their brother Josh Haden wrote “Every Time I Try.” A stunning musical blend comes naturally to the siblings, as their father was jazz bassist Charlie Haden.

The Lil Smokies, Tornillo (January 24)

While this roots band has origins in Montana, the Lil Smokies recorded Tornillo in a Texas town of that name – the site of Sonic Ranch Studio. While clearly influenced by bluegrass, the Lil Smokies capably transcend its borders. Their instrumental and vocal skills are evident in “Worlds on Fire,” yet bandleader Andy Dunnigan writes abstract lyrics that are just open-ended enough to put your own experiences inside.

The Lone Bellow, Half Moon Light (February 7)

Everything that has propelled The Lone Bellow into the hearts of live music fans is found in abundance within Half Moon Light. The passionate delivery, the poetic lyrics, the propulsive melodies – all accounted for. This time the trio teamed with The National’s Aaron Dessner, who produced the album at his studio in upstate New York. A three-month U.S. tour kicks off Feb. 12-13 at the Troubadour in Los Angeles.

The SteelDrivers, Bad for You (February 7)

The lonesome growl of the SteelDrivers is now delivered by Kelvin Damrell, a raspy singer and guitarist who makes his debut recorded appearance in the lineup on Bad for You. (No pressure, but their 2015 album won a Grammy for Best Bluegrass Album.) Founding member and fiddle player Tammy Rogers co-wrote 10 of the 11 new songs and sings harmony, too. Their spring tour launches February 6 in Bristol, Tennessee.

The Wood Brothers, Kingdom in My Mind (January 24)

Even when they’re writing about heavy topics, the Wood Brothers bring joy into their music. Kingdom in My Mind offers a mature perspective with a timeless groove, although the album came together by chance after building their own studio in Nashville. After listening back to some jam sessions, they discovered they could carve out some new tracks. Tunes like “Little Bit Sweet” capture that unmistakable magic.

Wood Belly, Man on the Radio (January 31)

A bright spot on Colorado’s bluegrass scene, Wood Belly worked with producer Sally Van Meter to further tap into their harmony-driven sound and arrangements. “Can’t Get Behind” (with special guest Jeremy Garrett) is about needing acceptance, although the band has found exceptional allies already with an IBMA Momentum Award nomination and a win in the 2018 Telluride Bluegrass Band Competition.

Photo of The Ballroom Thieves: Shervin Lainez