The Local Honeys: Rooted in Appalachian Folk, Communicating to the World

In normal times, you might find Kentucky-hearted duet the Local Honeys touring the UK or out on the road with folks like Colter Wall and Tyler Childers. But, like so many, the past year has been a paused their movement, allowing space and time to experience life in a way that most busy artists rarely get to.

Many caught wind of the group after a viral New York Times article in late 2020 about our nation’s cultural depression. But like other defendants of Appalachian people and culture, Montana Hobbs and Linda Jean Stokley, who make up the pair, have been outspoken via their music for a long time. Their new double-sided single continues a demand of accountability from big industry. “It’s a modern anthem of the American working class,” said Stokley.

BGS caught up with the Local Honeys to talk about these two songs — “Dying To Make a Living” and “Octavia Triangle” — as well as the message in their music.

BGS: In the before times, you’ve led pretty busy schedules, including multiple international tours. What have you been up to since the pandemic began?

Montana Hobbs: Well, I can tell you what we’ve be into. We’ve been in our jammies a lot! But you know, we’ve experienced probably a similar story to anybody else that has been in the gig industry. We’ll all remember it as a point in our lives and a point in our careers that was kind of sedentary, if you will. I think our story is not much different, we’ve had more time at home to focus on things that we don’t get to do on the road – like exercise, cook at home, read. At the new year we both decided that we weren’t gonna think so much about what this past year has been, but think more about what this new year is going to be for us.

Linda Jean Stokley: In 2019 we went on about five separate concert tours. So the beginning of 2020 was our last tour, we were all over the UK as well as greater Europe, on our own headlining tour but also supporting Tyler Childers. That was a huge tour, and it really took a lot out of us, so it was kind of welcoming to have a little bit of a break after that. But over this past year, we have done a few cool things. We went on the Tyler tour, we got signed to La Honda Records — that’s a pretty big deal for us. We love everything that they do, and have been constantly inspired by them. Our management and being with a label have proven so helpful, even during this time, to have someone like our manager that is so good about keeping our spirits up. Another thing that we’ve done this past year is put out a Western AF video, and that was a highlight. We didn’t get to do much, but what we did was really welcomed.

In a time of so much uncertainty, what inspired this new release?

LJS: We recorded those in October of 2019, and we’d been working on trying to change up our sound a bit, to make our sound bigger but not non-traditional, kind of neo-traditional. So we were thinking in 2020, how are we gonna release these songs? Then in October 2020, our friend Jimmy McCowan, who’s on one of those tracks, suddenly passed away from a heart attack. So, we talked to La Honda and asked if we could finally get these out. That’s kind of what spawned the release of this A-side/B-side single.

These songs show two perspectives on life in the coal mines: working like hell to provide for your family, while enduring personal struggles both medical and mental. What are you trying to tell the rest of the world about these Appalachian issues?

LJS: In July of 2019, there was a blockade in Harlan County, [Kentucky], and over a thousand miners in central Appalachia were out of work, because of the Blackjewel mining company. They went bankrupt, and they didn’t tell anybody. They didn’t tell any of their workers until the day of. In the middle of the day, they said, “this is your last day.” That is completely illegal. It was strange that it had to happen in Harlan County, which is so synonymous with all these bloody labor wars. To have something like this happen with one of the largest coal companies in the nation just shows that they can get away with all kinds of unlawful behavior. These people, their checks bounced. Of course that’s going towards their mortgage or rent, but it’s also going towards their medical costs, because there are so many disabled miners. We started thinking about this song more and more. We sang it a little bit, but didn’t have a need to sing it necessarily because we didn’t have anything to say. When we were on tour a lot, we would tell the story of what was going on, and put song and emotion into what’s happening, to get people to listen.

MH: To add on that, the song became more relevant to us in this time frame. It was a song that we were familiar with, via the band Foddershock, but also Rick & the Po’ Folk, Rich Kirby and his traditional band, and Pierceton Hobbs [who released his own version in 2020]. Basically, we felt like when you’re given the stage to speak on things like this, you might as well take advantage of the time and the attention that you’ve been given. Make that time worth it, and get a message that you feel is important across. When we would go over to England, which is also a very post-coal society that we didn’t know much about, we had firsthand connections where they told us stories of tragedy, how their grandfathers were miners, and so on. It made the whole history of traditional music come full circle for us, to where we had the opportunity to sing a song, but we also had the opportunity to tell a story of where we’re from and what’s happening where we are. Which is what traditional music was in its first iteration. 

I know that you both, along with other musicians, visited the miner’s blockade. What was that like?

MH: We went and visited the miner’s blockade in August. We just went down there and hung out with these people, they had their entire families on the train tracks. They had little encampments set up. People like Brett Ratliff, Rich Kirby, Tanya Turner at the time worked for Appalshop, went down there with us. Son, it was so hot. It was very much like third world conditions in what’s supposed to be the greatest country.

The week before, we were at Cowan Creek Mountain Music School in Whitesburg, Kentucky. Jim McCowan has been a member of the faculty there probably as long as the school has been around. This guy in my class asked, “Have you heard the song that Jimmy’s mother wrote?” We were both very close to Jim, he was a very bright light. So I sat on a picnic table with him and said, “I heard that you do a song your mother wrote.” And I’m one of those people that’s a real sneaky recorder with my phone, and I have about a 10 or 15 minute clip of him playing this song called the “Octavia Triangle.” He had such a beautiful delivery of the song.

We were thinking of something that would pair well with “Dying To Make a Living,” which is economic hardship, being pushed under the rug. Even though this work is essential, they’re being treated less than they’re worth. So then I thought that “Octavia Triangle” completely highlighted what it is to actually live, and work, and die, and love, in the coalfields. This was a true story that happened in Pike County, Kentucky. Who’s to blame other than these harmful practices which we still practice today?

As a fellow musician from Central Appalachia, I feel like Foddershock (who wrote “Dying”) rarely get the attention or recognition they deserve. Do you have a favorite album, or a starter pack for those who have never heard the band?

LJS: I absolutely love Foddershock, I’m always trying to find their CDs. I’m waiting on WV [Hill] to send me some recordings. Obviously, I think “Dying to Make a Living” is one of the best places to start. I would also say “Eat Possum & Prosper” is one of my favorite tracks of theirs. And I really love “When Coal Was King.” There’s one that’s called “Live in a Trailer.” “Cahoots,” as well. 

Do you have any new goals or ideas to try for when things turn around and we can all get back on the road?

MH: Hmm… we are ready and willin’! Open for suggestions, open for bookings… But like I said before, this is a time that we will all remember as a pause in our lives and a pause in history, even though it’s been a hell of a lot of history put into one year. We’ve been granted this time to kind of work on things, we’ve been writing a lot. It’s always been something we’ve done and tried to practice, but now it seems like it’s at the forefront of our minds. We want to be seen as not just traditional musicians, not just old-time musicians, but we wanna be known as songwriters as well. Carrying on that storytelling, and showing how I feel about what’s going in the time and place I’m from. That’s one of the biggest connectors in music in general, it’s saying you’re not alone. Like when we went to Wales, even our song “Cigarette Trees,” which is about strip mining, people would come up to us and say, “They do that here too, and we don’t like it either.”

LJS: We’re finding so many relatable things to talk about when we tour in the UK specifically. Touring has really given us a way and a platform to connect with all these people around the world that are dealing with similar situations. Every time we go anywhere, we talk to people about the whole idea of ‘saving Appalachia,’ and trying to tell people that no, we have to pay attention to the causes of poverty and suppression that are happening within our state and within the entire southeast region. We don’t need saving, and we don’t need developing — we need somebody to actually understand what is going on in our area. We’re looking forward to reconnecting with people.


Photo credit: Zachary Martin

Behind the Scenes of Two Tyler Childers Videos That Surprised Us in 2020

Tyler Childers is, as we all know, an outstanding singer and songwriter. His particular brand of country has been demanding attention for years, as people can’t get enough of the down-to-earth Kentuckian’s sound. After the release of two very different videos in 2020, however, it may be argued that music isn’t Childers’ only strong suit. In July 2020, he put out a sweet music video for the title track of his Grammy-nominated record, Country Squire, proving yet again he has a way when it comes to the art of storytelling, both on stage and on screen.

In “House Fire,” we saw that Childers can pull off the more traditional videos that are, let’s say, more serious in nature. In “All Your’n,” his creative streak rose to the top as he plays nearly every role in a video about an interesting hallucination. But in “Country Squire,” he joins his wife and his band, the Food Stamps, in glorious Wallace and Gromit-style animation. The unexpectedly charming animated video was directed by renowned comic book artist Tony Moore and depicts the feel-good story told in the song. See the behind-the-scenes clip below.

Then in September, Childers dropped a stunning surprise album called Long Violent History, using his platform to play Appalachian music while taking on tough topics brought to the fore in 2020. Of the title track, NPR’s Ann Powers wrote, “It’s a lament grounded in bluegrass fiddle and that fundamental African import, the banjo. Presenting himself as a confused ‘white boy from Hickman’ who once understood how the protests might feel like unnecessary trouble, Childers artfully bends perspective at the ballad’s center, realizing that for all the times he’d belligerently questioned authority, he’d never felt like he might lose his life.”

A description on a behind-the-scenes clip on his YouTube channel reads, “Long Violent History is a collection of instrumental pieces intended to create a sonic soundscape for the listener to set the tone to reflect on the last track. 100% of net proceeds from Long Violent History go to support the Hickman Holler Appalachian Relief Fund.” The accomplished singer-songwriter provided an equally potent testimonial video, explaining his reasoning for the record. Because Childers rarely grants interviews, the video provided his fans a firsthand account of his artistic integrity. It also positions him as a compelling public speaker, should he decide to pursue that path in 2021. Take a look below.


Photo credit: David McClister

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.

WATCH: Grammy Nominee Tyler Childers on ‘Late Night with Seth Meyers’

After a whirlwind year in 2019, Tyler Childers’ star is burning bright as ever at the start of this new decade with a Grammy nomination for “All Your’n,” a single off of his third full-length album, Country Squire. Released in August of last year, Country Squire fulfilled the promises of his previous breakout record Purgatory.

Childers takes bold steps as a mature writer and a gifted vocalist; the project is shaped like a concept album in which each song flows one right into the next, connecting the music and painting the record with a consistent palette allowing the songs to feel like a complete collection. The Grammy nod for Best Country Solo Performance is testament enough to the marked vocal prowess of the redhead from Kentucky. 

Childers and his band, the Food Stamps, are preparing for a very busy touring schedule in 2020 with highlights that include four sold-out concerts at the Ryman in Nashville, joining country outlaw Sturgill Simpson for his A Good Look’n Tour, and shows all over Europe. Watch as he performs the title track from his latest record on Late Night with Seth Meyers.


Photo courtesy of the artist

BGS Top Songs of 2019

Here at The Bluegrass Situation, we’re always eager to hear a new song. This year it’s likely that thousands of them drifted by, each with their own charms. Yet, rather than ranking our favorites, we decided simply to pick tunes that reached out and grabbed our attention in 2019 — listed here in alphabetical order. Take a look.

Brad Armstrong, “Carry Your Head High”

Formerly of the great Alabama art-folk outfit 13ghosts and more recently a member of the impossible-to-kill Dexateens, this Birmingham singer-songwriter has in the last few years emerged as a solo artist who can bend old musical forms into brand new shapes. “Carry Your Head High,” off his second album, I Got No Place Remembers Me, may be his most stunning composition yet, a churchly acoustic hymn of self-reckoning and survival that builds to a weird, intensely ecstatic climax. It’s the sound of a man shaking loose every last burden. – Stephen Deusner


Bedouine, “Echo Park”

Carrying on a long legacy of Eastside LA troubadours, Bedouine’s standout track from her brilliant sophomore album captures the essence of lackadaisical days in the Southern California sunshine by Echo Park Lake. On repeat all year long. – Amy Reitnouer Jacobs


Dale Ann Bradley, “The Hard Way Every Time”

An exquisite singer, Dale Ann Bradley has put her stamp on countless cover songs, but there’s something special about the way she interprets this 1973 gem written and recorded by Jim Croce. More than just singing it, she inhabits it. The poignant lyrics allude to lessons learned and dreams broken, but also the insistence that the narrator wouldn’t have done it any other way. Through Dale Ann’s perspective, it’s presented as a blend of nostalgia and fortitude, delivered by one of bluegrass’ most believable vocalists. Musical support from Tina Adair, Tim Dishman, Jody King, and Scott Vestal round out the good vibes. – Craig Shelburne


Tyler Childers, “All Your’n”

It was a banner year for Tyler Childers, whose seemingly endless run of sold-out tour dates gave way to a staggering sophomore album, Country Squire, that took his snarly Appalachian drawl and quick-witted lyrics to the top of the Americana charts (and to college football fans everywhere). From the sweeping piano at the outset to the final wail of affection, “All Your’n” elevates van-tour vernacular to a kind of love language — “loading in, and breaking down / my road dog, door-deal dreams” — with a grin of a chorus that conveys a confident, just-gets-better-with-time kind of intimacy, miles between be damned. – Dacey Orr Sivewright


Charley Crockett, “The Valley”

A life story set to music, “The Valley” recounts the bumps along the way for this Texas musician, who somehow overcame the obstacles — from tough family situations to open-heart surgery — to create an exceptional album of the same name. Echoing his own experiences, the instrumentation on “The Valley” is a pendulum of highs and lows, yet sits squarely in classic country territory, thanks to Crockett’s magnetic voice and the through line of superb steel guitar. – Craig Shelburne


Maya de Vitry, “How Do I Get to the Morning”

This earworm caught me after seeing Maya de Vitry at The Basement in Nashville a few months before the release of her album, Adaptations. If you’re not familiar, The Basement is essentially that – a small club below the former location of Grimey’s Records. It’s dark, intimate, and sports a max capacity of about 50, but de Vitry lit the place up with this one. It’s funky, soulful, positive, and it’s bound to leave you humming the chorus for weeks after your first listen. – Carter Shilts


J.S. Ondara, “American Dream”

A kid from Kenya, obsessed with Bob Dylan, wings his way to Minneapolis, starts playing music and, a few years later, has a deal with Verve Records and an acclaimed, highly affecting debut album. American Dream, indeed. But his song of that title is full of unsettling images — guns, beasts, ghosts — the darkness at once belied and deepened by his sweet, accented voice and lilting jazz-folk settings, echoing Van Morrison as much as the Bard of Hibbing. If you see him perform or talk with him (read our BGS feature from February), though, his hope and optimism beam through. – Steve Hochman


Our Native Daughters, “Black Myself”

Though watching a majority-white audience gleefully shout along to this righteously vengeful, imposing, empowered anthem by Amythyst Kiah might justifiably raise an eyebrow or two, this phenomenon is a testament to those Black musicians and creators who lead the way in actively un-writing myths that claim Black experiences and Black stories — especially those of Black women — are not relatable to the mainstream and its consumers. Recorded with Rhiannon Giddens, Allison Russell, and Leyla McCalla on Songs of Our Native Daughters, this track demonstrates that talking about our shared history, telling our truths without censorship or defensive reflexes, is key to moving forward with healing and intention. And just a dash of raisin’ hell, too. – Justin Hiltner


Tanya Tucker, “Wheels of Laredo”

For an album with a largely decentralized creative process — Tucker herself has been quoted in numerous interviews describing having to warm up to the songs, the recordings, and the entire project — While I’m Livin’ is a perfect distillation of the persona, the vim and vigor, and the pure X-factor that makes Tanya Tanya. (Read our Artist of the Month feature from August.) “The Wheels of Laredo,” written by Brandi Carlile and Tim and Phil Hanseroth, remarkably sounds as if it’s been plucked directly from the subconscious and lived experiences of Tucker herself. A haunting refrain, “If I was a White-crowned Sparrow…” reminds us that the human barriers by which we allow ourselves to be thwarted are just that. Human. No one stops a sparrow at the border of a not-so-distant land. – Justin Hiltner


Yola, “Faraway Look”

You know an album is special when a deluxe edition is released in the same year of its debut. Yola’s Walk Through Fire is just that kind of record. (Read our interview.) The opening track, “Faraway Look,” sets up the album with a soaring chorus and vintage vibe, paving the way for what’s to come. And with four Grammy nominations, including Best New Artist, it’s sure to continue its relevance well into 2020. — Chris Jacobs


 

BGS 5+5: Ben Morrison

Artist: Ben Morrison
Hometown: Oakland, California
Latest Album: Old Technology
Personal Nicknames (or rejected nicknames): Bunjo, Murray, Snowflake

Which artist has influenced you the most and how?

I’d have to say Huey Lewis might be my all-time favorite artist. His was the first music I ever bought for myself when I was a kid and I always admired his music and his outlook on performing. I saw an interview with him a while back and he talks about how lucky he was to get a break and had some hit songs, but if he hadn’t he said he’d still be playing his harmonica and singing in bars every night.

I really loved that outlook and his passion for playing music. Not to mention he wrote some great tunes…and that voice! I had the honor of meeting him a couple years back at a festival up in Canada. A band I play in called The Brothers Comatose covered one of his songs and it turned out he really loved our version. They got us tickets and backstage passes to their show and we got to hang with them afterward. He and his whole band couldn’t have been nicer dudes and their show was amazing.

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

This isn’t the toughest time I had writing a song but it’s definitely the oddest and most serendipitous. I had been working on this song (“I Hope You’re Not Sorry,” from this album) about a stalker that I had that all of a sudden stopped coming to our shows and how I surprisingly felt wrecked by it. I thought writing a song about losing your stalker to someone else was kind of funny and I had a couple verses but was stuck.

It wasn’t until I traveled across the world and was playing a festival in Australia, where I was hanging at the bar after our show and met a musician, that I finished the song. We got to talking at the bar and he’s like, “Let’s be Facebook friends,” and when he pulled out his phone and plugged in my name he looked at me and said, “We have a mutual friend,” with a freaked out look on his face. Turns out my ex-stalker had become his new stalker. Right there I got the bridge to my song…but I had to go halfway across the world to find it.

What’s your favorite memory from being on stage?

My fondest memory of being on stage is playing Hardly Strictly Bluegrass Festival several years back. We had a great time slot on a Saturday afternoon playing to around 20,000 people and as I looked out into the crowd, I saw that it was littered with familiar faces from old co-workers and teachers I had back in elementary school, family and friends that I hadn’t seen in forever and tons of people were singing along to the words of our songs. It was such a beautiful moment that will be seared into my brain forever.

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

My mom was in a band when I was a kid and my brother and I used to sit and watch them rehearse all the time. That was the first seed that was planted. But it wasn’t until I was a young teenager and my parents took me to a holiday party at a local recording studio called Prairie Sun Recording and a bunch of musicians showed up, not knowing each other, and just started playing songs together and that was magic to me. I wanted to be able to do that and I knew right then and there that being a musician is what I wanted to do with my life.

What rituals do you have, either in the studio or before a show?

I have two things that I always do before a live show and people think it’s weird but it feels great to me. I always like to brush my teeth before I go onstage. Singing a lot dries my mouth out and brushing before I hop up for a show gives me that clean and fresh feeling. I also like to breathe in steam before singing at a show — it really helps lube up the ol’ vocal cords for singing. I carry a collapsible water kettle with me and before I go on stage you can usually find me with my face over that thing breathing in deeply.


Photo credit: Michael Bonocore

Britain’s Got Bluegrass: August 2019

Get off your couch and go hear some live music with Britain’s Got Bluegrass! Here’s the BGS-UK monthly guide to the best gigs in the UK and Ireland in July.

Amadou & Mariam and Blind Boys of Alabama, 4 August, Cambridge

There are still day tickets available for the final Sunday of Cambridge Folk Festival and believe us when we say we’d pay the face price just for this single gig. Blending music by Amadou & Mariam and Blind Boys of Alabama, “From Bamako to Birmingham” is a special collaboration between two roots supergroups celebrating the African source of American gospel music, and it’s going to be a powerful closer to the festival. Of course, your £75 will also get you in to see Richard Thompson, Sarah Darling, Mishra, Jack Broadbent, Fisherman’s Friends, and many more acts, so consider it an utter bargain.


Amythyst Kiah, 14 to 29 August, nationwide

Having brought Newport Folk Festival to its feet alongside Rhiannon Giddens in Our Native Daughters, Amythyst Kiah arrives in the UK with her solo material. The Tennessee songstress has a devoted following in Britain – she’s played Celtic Connections, Edinburgh Jazz and Blues festival, and last year’s Cambridge Folk Festival – and here she’ll be visiting a whole host of venues across her 16 dates, from Wales and the West Country, London to the Midlands, Leeds, Manchester, and Glasgow.


Hoot and Holler, 23 August to 3 September, nationwide

In 2016, Mark Kilianski and Amy Alvey spent an entire year travelling around the US, living in a campervan, performing wherever they could. As Hoot and Holler, their resultant fiddle and guitar duo (although both are given to instrument-swapping) pays beautiful tribute to the old mountain music of the Appalachians, while incorporating their own contemporary songwriting. It’s old-time and new world combined, and it’s utterly captivating. You can catch it Newcastle, Padfield, Huddersfield, Liverpool, Sheffield, St Davids, as well as several dates in Northern Ireland where they’re appearing at the Appalachian and Bluegrass Festival in Omagh.


Prom 49: The Lost Words Prom, 25 August, Royal Albert Hall

The Lost Words was one of the bestsellers of 2018 — a beautiful illustrated book that combined the incomparable nature writing of Robert Macfarlane with the mesmeric drawing of Jackie Morris. Now as Prom 49: The Lost Words Prom, it’s found a second life as a musical project, one that has assembled a stellar crew of Britain’s greatest folk musicians including Karine Polwart, Kris Dreever and Beth Porter, as well as Senegal percussionist Seckou Keita. Inspired by the animals, birds, and landscapes from the book, they have created a series of “spell songs” intended to charm a vanishing world back into existence. This special Prom amps it up with full orchestra and the additional contributions of beatboxer Jason Singh, violinist Stephanie Childress and the National Youth Choir of Great Britain. There are lots of different price points to choose from — and of course if advance tickets sell out, you can always queue on the day for gallery or standing tickets, and do it the proper Promming way.


Tyler Childers, 28 August to 1 September, Brighton, Nottingham, & Salisbury

The Kentucky songwriter Tyler Childers has enjoyed such a sudden rise in popularity that you can now buy tickets to his 2020 UK tour (dates include the Manchester Academy and the Shepherd’s Bush Empire, if you’re interested). But there’s no need to delay your gratification that long. Just get yourself to The Haunt in Brighton on 28th August, or the Rescue Rooms in Nottingham on 29th — or head down to Salisbury for the End of the Road festival. He’ll be playing there alongside acts including Beirut and Michael Kiwanuka, in the wonderful surrounds of Larmer Tree Gardens.


Photo of Amadou & Mariam and Blind Boys of Alabama: Neil Thomson

Tyler Childers Takes on a New Dimension in “All Your’n”

Tyler Childers walks by some funny-looking mushrooms in his newest video, “All Your’n.” And that fungus among us must have something to do with the visuals here, which read like a cross between Alice in Wonderland and the weirdest zoo you’ve ever been to. Look for Tyler Childers’ new album, Country Squire, on August 2.

WATCH: Tyler Childers, “House Fire”

Kentucky country troubadour Tyler Childers has announced his highly anticipated upcoming album, Country Squire, and gives us a taste of what’s to come with the lead track “House Fire.”

Childers says about his mission behind the album, “I hope that people in the area that I grew up in find something they can relate to. I hope that I’m doing my people justice and I hope that maybe someone from somewhere else can get a glimpse of the life of a Kentucky boy.”

Country Squire was recorded at The Butcher Shoppe in Nashville and features renowned musicians such as Stuart Duncan, Miles Miller, and Russ Pahl. And like Childers’ 2017 release Purgatory, Country Squire is produced by Sturgill Simpson and David Ferguson.

You can grab your tickets for Childers’ headlining fall US tour on May 23, and find the track list – nine original songs — and more info about the record here, as you wait for its release on August 2 via Hickman Holler Records and RCA Records.